King back, King back, King back!!
The first track, “AADAT,” is an acoustic version of a song released a year ago. It features a gentle guitar and some R&B vocal samples in the background. They’ve basically taken the vocals from the original song and put them over this new acoustic sound. The mixing and overall sound quality are good, but some people might feel that the song goes on for a bit too long. Towards the end, from around 2 minutes and 14 seconds until the end at 3 minutes and 32 seconds, it’s just the chorus repeating over and over again. Some listeners might think it would have been better if they had shortened this part.
“HEARTBEAT” delivers a quintessential trap vibe, complete with arpeggio guitar and pervasive synth pads throughout, adhering to the genre’s customary structure.
In “DILLAGI,” the production stands out with its intricate drum patterns, particularly the captivating sound of the snare and other percussion elements crafted by Jokhay. Talhal Yunus impresses with his adept delivery, seamlessly flowing through the verses with precision. There’s a dynamic quality to his second verse, where he skillfully plays with the rhythm of his words. However, the chorus lacks the memorability needed to elevate the track, resulting in a somewhat monotonous feel as the song progresses.
The chorus in “BOL” seems directly inspired from “For The Night” by Pop Smoke featuring Lil Baby and DaBaby, a track released in 2020. While Shareh’s verse is decent when compared to Yunus’, Yunus’ flow sounds lacklustre.
In “DEKH LE,” Yunus revisits the guitar sound from the second track, “Heartbeat.” His chorus melody is simple yet catchy. In the first verse, he drops names like Drake, Skepta, and Dave, suggesting a reflection on his loyalty to his own artistic identity. He seems to reject the idea of conforming to a popstar image, preferring to stay true to himself. Yunus also talks about his aspirations to reach the top despite not releasing much music, sprinkling in some flexing along the way. Fans may find solace in Yunus’ return to his old style on this track, appreciating his familiar flow, delivery, and lyrics.
“Wo chahe clicks to mai bed banu, Loyal to kyu drake banu? Skepta to kyu Dave banu?”
The sixth track, “HASEEN,” exudes a vibrant energy through its instrumentation. The funky electric guitar and dancehall-inspired drum pattern set an upbeat tone that’s hard to resist. In the lyrics, Yunus delves into the theme of heartbreak, expressing his emotions towards a woman who has left him shattered. Overall, “HASEEN” captivates listeners with its infectious rhythm and heartfelt lyrics.
In the seventh track, “TAKE YOUR TIME,” we’re met with a similar dancehall vibe as seen in the previous track, “HASEEN.” However, while “HASEEN” had a laidback groove, “TAKE YOUR TIME” kicks it up a notch with a more lively and danceable rhythm. It’s the kind of track you’d expect to hear in a club, with its infectious beat and energetic vibe. The instrumental shines with its jazz-infused chord progressions and the addition of the Rhodes piano adds a classy touch. JJ47 adds to the allure by name-dropping Drake, referring to him as Champagne Papi in the line “Champagne khole jaise champagne papi.
In the eighth track, “DON’T CARE,” Yunus collaborates with his partner Talah Anjum to deliver a Jersey club-style beat infused with various percussive elements. Anjum’s contribution is noteworthy, as he delivers a solid verse with poignant lyrics reflecting on the challenges he’s faced. He candidly expresses that despite enduring hardships, he remains resilient, asserting, “I don’t care.” Additionally, Anjum talks about how he views death, saying he’s not afraid of it but he does not want to die yet as he is focused on achieving his remaining goals no matter what. This track resonates with fans as it showcases Yunus returning to his roots, exhibiting his crazy verse, flow and delivery. However, while the verses shine, some listeners may find the chorus lacking in impact. Despite this, “DON’T CARE” stands out as a track that encapsulates Yunus’ resilience and determination amidst life’s trials.
The ninth track, “CHAL PARAY,” carries a commercial appeal, featuring synths and 80s-style drum sounds that give it a synth-pop feel. Throughout the song, the instrumentation, including claps, synths, snare, drum rolls and other elements, adds to the overall vibe. Towards the end, there’s a cool Daft Punk-like effect on the vocals, which enhances the song’s appeal. Jokhay’s skillful instrumentation shines through, while Talah Yunus delivers a good chorus, adding to the track’s allure.
The tenth track, “SHIKWA,” diverges from Yunus’ and Young Stunners’ typical style, embracing an indie pop/bedroom pop aesthetic. This departure marks new territory for the artist, offering a laidback and chill/sad vibe that differs from his previous work.
Fans in the community have been questioning why “Side B” was released before “Side A.” It turns out that Yunus chose to release “Side B” first on the anniversary of his mother’s passing as a tribute to her.
In “Shikwa (Side B)” Yunus and Jokhay explore new musical styles like 80s-inspired music, indie pop, and jersey club. While the production is strong, the lyrical content could have been better. It’s interesting that Yunus name-dropped Drake, suggesting unlike drake, he stays true to his identity rather than chasing clicks, yet the album takes a more commercial direction.
As the album progresses, it becomes more commercial and dance-oriented, showcasing Yunus’s versatility but also sparking questions about its alignment with his artistic identity. The album’s reception has been mixed, with some embracing Yunus’ evolution while others miss his old style.
The release of “Side A” will likely shed light on Yunus’ artistic evolution and the direction he chooses to take in the future. Overall, while “Shikwa (Side B)” offers a variety of genres, and will resonate with its audience for long.
