Eli Njuchi is back with another music project titled Maga and he has kept things short, simple and easy to digest.
For fans who enjoy Njuchi’s music, the eight-track extended playlist (EP) adds to the growing catalogue from the artist.
Running at about 25 minutes, the EP does not demand too much from the listener. It moves quickly and leaves enough room for each song to make a mark without making the playlist feel unnecessarily stretched.
There is a sense of familiarity throughout Maga, but some will argue different.
In Maga, the artist has not moved far from the sound that has become his trademark, the production and instrumentation continuing to carry the musical character that listeners associate with him.
What stands out, however, is the ease with which he moves between different sides and stories of love and relationships.
Romance runs through much of the project, but it is not presented from one angle.
There is affection, vulnerability, heartbreak, admiration and the desire to simply enjoy another person’s company.
This variety gives Maga a common emotional thread without making the songs sound like repetitions of one another.
Eli Njuchi’s strength has always been his ability to take familiar experiences to his audience and turn them into songs that feel personal.
In the song Aye, for instance, he turns the idea of a home into a metaphor for love.
His story, even after a landlord throws him and his belongings out of the house he remains unfazed because, in his eyes, having his woman means he still has a home.
It is a simple idea which he presents in a way that gives the song its charm.
Next comes another track Mankhwala which is already making waves and perhaps one of the project’s more relatable songs for anyone who has struggled to move on.
The relationship has already ended, but the emotional wounds remain. Eli Njuchi turns that familiar experience into a simple question: what medicine did the other person use to move on easily and where can he find it?
The same is common in the other six tracks namely Benz, Kuche, Usandisiye, Cross, VIP and Ma Diva.
The end result is an EP that feels particularly easy to live with.
The collaborations are another strong feature in the EP.
Eli Njuchi brings in Kineo Madness, Ca$ino, Em EL, Teddy Makadi and Lulu, but the project does not become crowded with guest appearances that Eli Njuchi loses his identity.
Four of the eight tracks are collaborations, leaving the other half to Eli Njuchi on his own. That balance works for the project.
The featured artists add different voices and textures and allow Eli Njuchi to remain the man of the moment.
Teddy Makadi and Kineo Madness, for example, fit naturally into Eli Njuchi’s musical world, while Ca$ino and Em EL add another dimension to the more social side of the EP.
Lulu’s contribution is more restrained, with the veteran singer making a brief vocal appearance rather than taking up a full verse.
Three songs, namely Aye, Cross and Banz from the EP are supported by visuals. The most watched music video on YouTube is Cross at this point.
Perhaps another notable thing in Maga is its consistency and the artist appears comfortable with what he does well and confident enough to continue doing it.
One thing, however, that may take some listeners getting used to is the energy. The EP does not carry quite the same punch that fans have grown accustomed to.
The music is still unmistakably Eli Njuchi, but he sounds more settled and restrained. But it is a subtle shift rather than a departure from his sound.
This may explain some of the mixed reactions that greeted the EP when it was released. But the change is not necessarily a flaw.
With the annual Hive Experience approaching, the EP gives Eli Njuchi another set of songs to take to the stage alongside the music that has already built his following.
