Some tracks are made to fit in. PLURAL was not one of them.
From the beginning, this was never meant to be a clean, polite Afro House record that follows every familiar rule. I wanted it to feel heavy, strange, physical, and slightly dangerous. The kind of track that does not ask for space — it takes it. The kind of record that does not depend on a sweet melody to carry it, because the bass itself becomes the main character.
PLURAL is a heavy Afro House track built around weight, pressure, and movement. It has a hard kick, electronic arps, aggressive percussion, and a bassline that does most of the talking. There is no traditional melody sitting on top to make the listener comfortable. Instead, the track leans fully into rhythm, texture, and low-end energy. The bass is not just supporting the song; it is the instrument driving the whole thing forward.
This was intentional.
I wanted to make something that breaks out of the normal frame. Call it breaking the fifth wall — not just stepping outside the usual structure, but stepping outside the expected feeling of what an Afro House track should do. PLURAL does not try to be smooth all the time. It does not try to be perfect in a soft, polished way. It is raw, heavy, and allowed to breathe.
Even the mastering follows that idea. I did not want it locked down too tightly. I wanted the track to feel let loose, like the sound is pushing past the edges instead of being trapped inside a perfect box. A lot of music today is mastered to be controlled, neat, and safe. With PLURAL, I wanted the opposite. I wanted the bass to move, the percussion to hit hard, and the whole record to feel like it has its own life.
The strange thing is, this is a track from a genre I had almost given up on.
At this point in my life, I have been making music more from curiosity than pressure. Not chasing the industry. Not trying to force anything. Just following sound, ideas, and whatever feels interesting enough to explore. But PLURAL reminded me why I started taking music seriously in the first place. The reaction has been different. The attention has been real.
Across sponsored posts on Facebook, Instagram, and TikTok, the track has already passed a combined 5,000 views, and the numbers are still moving. More importantly, people are responding. Followers are coming in. The energy around the release feels alive. For a while, my Facebook following had been sitting around 12,000, almost like it had reached a wall. But with this track, that wall finally feels like it might break.
That makes PLURAL special to me.
Not because numbers are everything, but because attention like this tells you when something is connecting. Sometimes you work on music for years and it feels like it disappears into the air. Then one record comes out, and suddenly people hear the thing you were trying to say without you needing to explain it too much.
This track took more than two years to become what it is. The idea existed for a long time, but it was not fully there yet. I kept refining it, leaving it, returning to it, adjusting the feeling, and trying to understand what the track actually wanted to become. The real turning point only happened recently — around a month ago — when I added the hard percussions underneath the main bass.
That changed everything.
The bass already had power, but the percussion gave it a body. It gave it a spine. Suddenly the track stopped feeling like an experiment and started feeling like a weapon. The groove became harder. The movement became more physical. The whole song found its identity.
That is the thing about music. Sometimes the version that finally works is not the one you force for years. It is the one that appears after one final decision, one sound, one rhythm, one layer that suddenly unlocks the whole track.
PLURAL is exactly that kind of record.
It is not melody-driven. It is not soft. It is not built to sit quietly in the background. It is heavy Afro House with an electronic edge, carried by bass, arps, kick, and percussion. It is music made from instinct, frustration, curiosity, and a refusal to keep things normal.
And maybe that is why people are responding to it.
Because it does not sound like it is trying to please everyone. It sounds like it was made honestly. It sounds like a track that fought its way into existence.
For me, PLURAL is more than just another release. It is a reminder that sometimes the sound you nearly walk away from still has something waiting for you. Sometimes the genre you thought you were done with still has one more door open. And sometimes, the track you almost left behind becomes the one that brings people back to you.
Maybe taking music seriously again is not such a bad idea after all.