Has Suffix delivered in his latest ‘Tailora’ album?
If you are a fan of Malawian rap music, the name Suffix needs no introduction. He has been making waves since his inception into the music scene. His breakout song “Ulendo Wa Kumwamba” won him notoriety and established him as a household name with projects like the D.O.S mixtape, Dethrone EP, Before I Sleep, and To Whom It May Concern.
Suffix has returned and finally dropped his highly anticipated third album, Tailora, dedicated to his late mother. He swings out of the gate with a grand opening track titled “Silero,” featuring Ntchisi’s finest singer, Driemo. The song is graced with a grand piano and an orchestral beat, backed by an electrifying choral vocal performance. It is the perfect opener and sets the right tone for the album, inspiring hope that in the midst of hurdles, there is light at the end of the tunnel, even if today might not be the day to bask in the sun.
The song “Lighter” follows, featuring infectious vocals by Barnie Michael. Suffix delivers his verses with a laid-back flow, in typical Suffix fashion, encouraging listeners to stay focused on their goals, such as staying in school, and not get carried away. The additional harmonising vocals at the end provide a soothing aura that closes the track perfectly.
Next, the album presents an energetic social commentary track titled “Kumpanje,” where Suffix addresses jealousy and envy in Malawi. He interpolates lyrics from the Malawi National Anthem with lines such as “njala nthenda ndi nsanje.” The flow is upbeat and forceful, pressing hard on everyone involved in the vices he highlights.
“Yewo” is another track that mirrors “12 Hours” from his “Before I Sleep” album, addressing the pressures of fame and the moral dilemmas it brings, such as the temptation from young girls willing to risk everything just to share in his notoriety. What stands out in this song is the lively afro jazz music-inspired vibe, complemented by Maggie Kadrum’s vocals in heavy Tumbuka lingo and accent. For a moment, I was reminded of the late Mte Wambali Mkandawire. If you ask me, Maggie is export material; we shouldn’t sleep on this queen!
In “Kulera,” Suffix pens an ode to his parents, appreciating the role they played in his upbringing and their constant presence. He acknowledges the importance of parental discipline and laments the loss of his mother, contemplating what could have been if she were still with him today.
“Nthena” is an upbeat, celebratory love ballad that foreshadows the future of Suffix and his spouse-to-be. Merchah injects his delicious vocals with Tumbuka-woven lyrics, marking the second appearance of the Nyika Republic lingo on the track. The song is unquestionably a banger, with a celebratory and playful flow that Suffix stitches seamlessly to the end. If released as a standalone single, it would likely become a popular wedding anthem, but as an album cut, it risks being overlooked.
“Dear Isaac” echoes the recurring theme of grief as Suffix pens a heartfelt, grief-stricken joint to his long-lost friend Isaac. The song features frequent Suffix collaborator Kelvin Sings, who, as usual, does not disappoint and provides the emotional bedrock with his vocals. However, I couldn’t help but feel that this song also mirrors the “Amamva” and “Chilobwe” vibe from “Before I Sleep.” Overall, it is a good song that fits well within the general theme of the album.
“Time” is another masterpiece on this album, addressing the fleeting nature of time and the fickleness of our daily pursuits. The piece evokes the regrets of King Solomon, who lamented the fleeting satisfaction of life’s pleasures and treasures. Solomon Plate’s hook is captivating, but the standout highlight for me is Killa. He excels in flow, delivery, message, and versatility, leaving little to no room for critique. I will need to wade in his wave, he is a phenomenal artist! On the other hand “Miracle” is truly a miraculous joint. Given Theresa Phondo’s recent impressive streak, I had high expectations, and she surpassed them. The hook and backing vocals are my favourite parts of the song, adding depth and richness to the track.
Reflecting on the overall quality of the album, sonically it is a magnificent body of work with high-quality production and a stellar line-up of features that immaculately showcase their capabilities. However, the tone and theme of the album seem conflicted, as it is a mixture of hype and sombre joints. Not that that is a bad thing for an album but when I heard that Suffix was dropping an album entitled “Tailora,” I immediately thought it would be a personal album with grief and introspection as the central themes, especially given the expectations set by the singles “Tailora” and “Si Lero.” Far be it from me to tell an artist how to write a tribute album to the life of their loved ones and grief, but the thematic trajectory of this album had me confused. Songs like “Mbuzi” and “Kumpanje,” for instance, felt out of place, dealing more with social commentary on socio-political issues than with grief and introspection.
Based on the title of the album “Tailora,” my assumption was that it would largely focus on his deceased mother. I expected to hear more in-depth reflections on how her passing has impacted him and his family, as previewed in the “Tailora” single, and a deeper exploration of his faith and worldview. Perhaps it’s because I have always seen Suffix as one of those artists who is more philosophical and opinionated than most, capable of grappling with profound themes and translating them for the common listener in his music. Tracks like “Mungobwera” and “Ndikamasochera” aligned well with the expected themes of the album and were a pleasant surprise, featuring sweet compositions and singing from an artist who is predominantly a rapper.
Moreover, many of the topics Suffix addresses are nearly the same as those in “Before I Sleep” and “To Whom It May Concern.” One could be forgiven for opining that Suffix sounds stuck in the glory days of “Before I Sleep,” wrestling to capture lightning twice in a bottle. If there was a perfect opportunity to break out of that mould, this album was it. To be fair, he attempted to for the most part, but he fell short of seeing the whole process through cohesively by deviating thematically.
Another reason the album fails to deliver is the short verses and lack of hip-hop technicality. It seems to be largely carried by the featured artists rather than Suffix himself. When Suffix first emerged on the scene, he wasn’t the most technically skilled rapper by emcee standards such as multisyllabic rhyme schemes, alliteration, allegorical storytelling, but he compensated with witty punchlines that have declined over the years. While it’s true that many successful rappers aren’t punchline-focused, they usually excel technically, are extremely versatile, or both. Suffix, on the other hand, despite riding on various sounds he has a monotonous and predictable style. I believe that if he were to return to his punchline days, he could potentially redeem himself. Paradoxically, his monotony is both his stylistic signature, which initially compelled his fan base, and his Achilles’ heel, as some might argue that in this album he has lost the elements that once made the monotony tolerable.
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