Namasenda – Limbo

After a decade of carefully creating her persona within the hyperpop and dance scene, Swedish native Naomi Namasenda, better known in the music world by her surname alone, is finally set to release her debut record, Limbo. In 2016, her first-ever single, Here, was a great introduction to her work, and although the track was a hit, her evolution over the years has been on a clear incline. After connecting with legendary producer AG Cook and joining his label PC Music after a time in Sweden’s underground scene, she is ready to show listeners exactly what she is capable of – a full body of work that is focused on an unapologetic sense of self.

Limbo opens with Love Island, a perfect, dance-worthy moment that takes a page out of the book of modern-day hyperpop. The vocal delivery and pacing of Love Island and the track that succeeds it, Madonna, are reminiscent of a piece from Charli XCX’s beloved Brat album or some of PinkPantheress’ unique style of pop from Fancy That. Although there are similarities in the production, Namasenda is nowhere near a copycat. Cola, for example, refuses to be static and strikes a careful balance between dynamic pacing. Its chorus is infectious and fit for any party. Romeo Must Die, which appears later on in the tracklist, shines in this regard. An 80s-style synth creates a mystical, nostalgic soundscape in comparison to the direct punch of songs heard prior. Dynamic manipulation takes control, making for another instance of Namasenda rejecting the typical composition of songs today.

Bad Love stands out as well, as it takes advantage of different classic electronic tools. Namasenda’s vocals are subjected to heavy, washed-out reverb and low-pass filtering throughout, despite the fast beats that run in the song’s climax. Namasenda does not stop showing off her mastery of the genre as Coquette, the single Miami Crest, Heaven, and Clermont Twins use autotune in contrasting ways to highlight her cute yet ethereal vocals. Autotune gets a bad reputation, but when hyperpop artists like Namasenda use it to elevate their work, as heard here, it only reinforces the idea that the style is not what it seems.

Namasenda’s debut comes to a close with Limbo’s softest moment, Alright. For the most part, Namasenda has not displayed much vulnerability – she is often matter-of-fact and confident in her retelling of how her past relationships went wrong. Here, however, she discusses a different side of herself, where she has felt the need to change to fit the desires of another. The slower tempo and wailing production match this and finish the record off on a note that suggests a sense of questioning about what lies ahead in Namasenda’s personal life.

Overall, Namasenda has established herself as a new princess in hyperpop. She is golden, and she is boredom’s worst nightmare. A decade of steady glimpses at her taste has culminated in a noteworthy project that will age like fine wine, and her history proves that she is on a fast track towards becoming a worldwide legend – not only in the niche genre, but in music as a whole.