Due to its melodic uniqueness, “Pana” would go on to become a huge hit, and the excitement it provides would be reproduced in later records like “Yawa,” “Go,” and “Jogodo.”
During the course of his spectacular 2017, Tekno shared his skills with Davido, for whom he created the smash single “IF,” which repositioned Davido for success following a forgettable worldwide run with the “Son of Mercy” EP.
Such are Tekno’s resounding contributions and influence to the development of Afrobeats. A force that might go unrecognized, especially given his seeming incapacity to compile a compelling body of work.
Ayomide Tayo (AOT2), a well-known culture journalist, succinctly described the reality of this risk in the following tweet:
If not for this superbly produced album from Tekno, he could have been forgotten as the father of Afrobeats.
Tekno releases his sophomore album “The More The Better,” a pivotal work that permanently inscribes his name in the annals of Afrobeats history, at a time when the applause is at its lowest and fans may have forgotten about his creativity.
Tekno shows the genius hidden in simplicity on his second album. He has one of the sharpest minds in Afrobeats because of this attribute.
The simplicity of Tekno’s music has one significant benefit: it is relatable to a wide range of listeners. As a result, when a song takes off, it becomes a big hit across the country. This author believes that Tekno’s music’s inability to establish a solid listening base is an inherent disadvantage. As a result, his music only satisfies listeners’ desires when he creates sounds that grab their attention.
It was going to take Tekno another round of genius to reproduce that moment after failing to release a body of work during the commercial run he enjoyed between 2017 and 2018. His debut album, “Old Romance,” which was released in 2020, utterly failed to evoke the nostalgia of his popular zenith or provide the freshness to spark a new run.
Tekno’s vocal problems necessitated medical treatment, therefore it took him some time to recover from this slump. Tekno released a variety of songs between 2021 and 2022, but his collaboration with Kizz Daniel on “Buga” served as a reminder of his brilliance to audiences.
Following a single that caught listeners’ attention, Tekno released a string of singles and guest spots that all culminated in the release of his sophomore album, “The More The Better.”
The album doesn’t take any mental gymnastics to contextualize it or capture Tekno’s state of mind, just like his signature music does.
Tekno mostly finds inspiration locally, and because of this, even well-known worldwide artists like Drake and Billie Elish have expressed interest in him. Tekno appreciates Nigerian sonics and masterfully incorporates them into this album, whereas the majority of his colleagues are keen to incorporate Western components that are steadily overpowering the Afrobeats parts.
Tekno keeps the subject light and the music designed to provide a relaxing escape, according to his personality and in a style that is distinctly Afrobeats.
Tekno occasionally displays his sense of humor on social media when he isn’t singing, enhancing his reputation as a man who likes to have fun. In “Pocket,” he expresses his decision to live in the moment and put his troubles behind him while also encouraging others to do the same.
Tekno, an architect of good times, makes it apparent that he is about the vibe in “The More The Better,” in which he interpolates the well-known nursery rhyme for a tasty and readily digestible tune that nevertheless packs rich musicality thanks to the use of log drums, highlife chords, and sumptuous horns.
With the use of Pop rap delivery and Konto bounce (An Afrobeats Hybrid), Tekno creates a gorgeous song in which he interpolates the iconic Afrobeats song “Wetin Dey” by Ruff Rugged & Raw.
In the Highlife-infused tune “King Of Pop,” which DJ Coublon produced, Tekno crafts a melody that gives a Palmwine riddim and samples Fela Kuti’s “Shakara” while also recycling Log drums to provide a local rhythmic flavor in a song that reflects his aural identity.
Even when he blends Yoruba to create the rousing “Lokation” or when he combines Highlife chords with Log drum on “Permit,” the song has the inherent simplicity that distinguishes his music.
Tekno promises his sweetheart a nice time if they do the same on the love songs “Regina,” for which he requested CKay’s help, and “Can’t Chase,” which are equally designed to provide listeners the same.
Although Tekno’s music is designed to be enjoyable, he nonetheless discusses the circumstances that influence his society. He inserts passages from African China’s timeless song “Mr. President” into “The More The Better” to remind the government of its mistakes and encourage those going through tough times in “Play.”
Tekno’s signature straightforward delivery and writing, together with the feel-good vibe of the songs, the percussions, the use of Konto bounce, and the use of Highlife chords all work together to give the music a depth that highlights Afrobeats in all its splendor.
Tekno makes a comeback with an album that solidifies his status in Afrobeats at a time when fans may have forgotten his brilliance and when the applause is at its lowest. And it is lovely moments like this that will motivate upcoming generations to contribute to the development of Afrobeats.
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