There is an interesting depth to Drazz’s music on Drazztic, a two-pack single housing “Billie Eilish” and “Eject.” Both records are exciting tunes that elevate his versatility and sonority within the contemporary pop music scene.

Across barely two songs, Drazz finds enough room to move between yearning, romance, dancefloor urgency and soulful introspection all together holding the giddy energy that defines the project.

In today’s Afrobeats scene, with voices like Young Jonn, Scotty Olorin, Kobilou, Lil Kesh and a mix of others from older and emerging generations, there is a bubbly wave of spirited, high-energy and somewhat indigenous pop that functions almost like steady dance therapy. Its appeal often sits in the looseness of the music: elastic vocals, animated percussion, catchy melodies and enough rhythmic motion to make even the most emotional writing feel light on its feet. Drazz’s superpower on Drazztic is his ability to bring some of that energy across both tracks irrespective of their individual functions.

“Billie Eilish” is the more yearning-soaked record. Drazz professes an almost consuming affection for its unnamed persona while looping pop piano chords provide much of the song’s foundation. There are moments where the record threatens to fade into something closer to a ballad, but Drazz’s soulful chanting repeatedly lifts its momentum. His raspy flows help too. Alongside the giddy Afropop percussion flanking the record, they upgrade what could have been a straightforward love song into a mainstream-friendly feel-good record with an emotional centre.

Now, he brings the same magic on “Eject,” only several notches higher. Another love bop, “Eject” dives more heavily into Amapiano and Afropop fusion. Its bass is weightier, its chords more charismatic, and the entire arrangement seems engineered towards movement. The song settles almost immediately into a dancey jive and rarely abandons it. Drazz sounds comfortable inside that momentum. There is an instinctive understanding of where his voice should sit, when it should become percussive, and when a melody needs enough space around it to breathe.

In “Billie Eilish,” where the repetitive nature of the central piano progression could easily have dulled the song, Drazz avoids that problem through tonal clarity and vocal control. His inflections keep his voice at the foreground of the composition, arresting the listener’s attention even when the instrumentation underneath him becomes deliberately cyclical.

There is also tension in his delivery. His voice accelerates, loosens, retreats, rises again and occasionally pauses altogether. The arrangement follows his emotional instincts rather than simply carrying him through the record. Those pauses are particularly useful. They make the returning piano chords feel more pronounced and allow his next vocal movement to arrive with greater impact.

It reveals something about the inner workings of Drazz’s artistry. Melody, for him, appears almost like a Siamese twin of movement. One rarely exists without the other. Even when he enters sombre emotional worlds, there is still an urge to find the groove hiding somewhere inside them. That might be the most compelling quality of Drazztic.

Catharsis in pop music does not always have to manifest through stillness, confession or a dramatic crescendo. “Billie Eilish” pulses with yearning without becoming weighed down by it. “Eject” pushes romance further onto the dancefloor. Across both songs, emotion is the groove of the party.

The lyricism on “Billie Eilish” gives that idea greater resonance. When a song this sincere, vulnerable and occasionally poetic appears under a title like “Billie Eilish,” it would be easy to mistake the concept for little more than a fan’s love expression. Drazz finds a more interesting route. He plays with the cultural associations surrounding Billie Eilish and bends them into his own romantic vocabulary. The invocation of “ocean eyes,” for instance, works beyond simple name-dropping. It becomes an image through which he can exaggerate desire and describe the person he loves with something abstract, dreamy and instantly recognisable.

Pop music has always depended partly on this kind of cultural recycling. Familiar images move between artists and eventually enter everyday language with meanings slightly removed from where they began. Drazz’s use of “ocean eyes” understands that possibility. In his hands, it could simply become another affectionate description: the kind of phrase somebody borrows from a song to describe a lover years later.

That is where the reference becomes influence rather than imitation. It also complements the flowery nature of Drazz’s songwriting. His writing is fun, exaggerated where it needs to be and sincere enough to prevent the romantic gestures from becoming hollow. “Billie Eilish” keeps the listener guessing emotionally.

There are moments that feel suited to sitting indoors on a moody afternoon, followed quickly by sections that seem determined to drag the same listener onto a dancefloor. Drazz rarely forces a choice between those impulses. The answer, almost every time, is a digestible groove.

That makes Drastic an unusually flexible two-song experience. It works during solitary listening because there is enough emotional material beneath the production to pay attention to. It can equally survive in social spaces because neither record sacrifices movement for introspection. “Eject” naturally has the stronger dancefloor credentials, while “Billie Eilish” offers the project its emotional depth, vocal experimentation and more memorable lyrical imagery.

Production-wise, there are few waning moments. The mixes remain clear and uncluttered, with Drazz’s vocals retaining enough presence to prevent the instrumentation from overwhelming his performance. Even within the heavier bass architecture of “Eject,” there is separation between voice, percussion and melody. On “Billie Eilish,” where far fewer elements are doing much of the work, that clarity becomes even more important. Overall, it feels arresting and fresh.

More importantly, it sounds like Drazz is beginning to understand exactly where his strengths lie. His rasp gives him character. His instinct for melody gives him accessibility. His fascination with movement gives even his quieter emotions some physicality. Drazztic brings those qualities together. And only two songs are enough.

Drazz emerges from them as one of the contemporary artists worth paying attention to, particularly as Afropop continues to expand its relationship with dance music, indigenous melodic instincts and increasingly fluid vocal performance.