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In IllyChapoX, Illbliss preaches love, freedom

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Hate or love him, iLLBliss no doubt is the prime connoisseur of contemporary Hip-Hop in Nigeria. With his latest offering, IllyChapoX, the ace rapper is doing for God, country, family, love and business.

The 17-track album, which serves as his tenth body of works and sixth album, aptly befits an ode to his God status marked by quality consistency through 10 projects. With a better track arrangement, the album could have played like a movie.

With IllyChapoX, Illbliss put himself forward as a preacher of love, a charmer, a town crier, sociologist, family man, and an entertainer. With a love for country woven with allegiance to tribe and responsibility to friends and family, he delivers the sweetness nested in the middle of a fusion of old and new.

Through the album, Illbliss builds up divinity and God as a plot, constructing tales about the things holds dear – family, love, country, business, his child and then, his Igbo heritage.

His signature one-two step flow and the other toeing the lines of modern music, featuring A-lister like Yemi Alade and up-comer Toye, who produced a number of tracks off the project, Illbliss proves to be a recipient of the kind of sustained evolution that has afforded his contemporaries coveted spots in today’s Nigeria music industry.

Indeed a thoroughbred, the former banker who left the shores of Nigeria and back with a revitalised dream to break through. He broke through and became Oga Boss of Goretti. Then Powerful Influencer of Nigerian music. He furthered with iLLY to become the Bomaye, the Chapo and now the Chapo X.

Whether completely immersed in punchlines or sharing the glory of his powerful flow, Illbliss is always poised for battle. This is showcased in Fever, a Yemi Alade assisted.

Serving as the third official lead single from the album, the track is a neo-Highlife and Pop inspired love song that casts Illbliss as a gentle giant whose heart has been softened by love and punchlines modified by Yemi Alade’s catchy corny hook.

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