Out of Sight – Out of Mind: Volume 1 is an impressively realised project that reminds listeners just how complete an artiste Ycee has become.
By Yinoluwa Olowofoyeku
Few artistes embody the winding, often unpredictable journey of Nigerian Hip-Hop’s evolution over the past decade quite like Ycee. Born Oludemilade Martin Alejo, the Lagos-raised rapper, singer, and songwriter first emerged as one of the defining breakout stars of the mid-2010s through a combination of sharp lyricism, effortless charisma, and an instinctive ability to bridge rap and melody.
His rise accelerated dramatically following the success of “Condo” alongside Patoranking, a record that became one of the era’s most recognisable rap crossovers and helped establish him as a central figure in a new generation of artistes blurring the lines between Hip-Hop, Afro-Pop, Dancehall, and Contemporary African popular music. Subsequent releases such as “Jagaban”, “Omo Alhaji”, and the acclaimed debut album YceevsZAHEER further cemented his reputation as one of Nigerian music’s most versatile talents, capable of moving seamlessly between hard-hitting rap performances, melodic songwriting, and commercially accessible records without losing his identity.
Over the years, that versatility has remained one of Ycee’s defining strengths, allowing him to navigate shifting musical trends while maintaining a distinct artistic voice rooted in wit, personality, and technical ability.
That broader career trajectory provides important context for Out of Sight – Out of Mind: Volume 1, a project arriving after a particularly eventful period in Ycee’s artistic journey. Since his emergence as one of Nigerian rap’s brightest stars, he has experienced the highs and challenges that often accompany longevity within a fast-moving industry, including label transitions, changing commercial landscapes, increasing independence, and the constant pressure of reinvention.
In recent years, Ycee has appeared increasingly focused on creative autonomy, releasing music on his own terms while continuing to explore the fluid space between Rap, Afro-Pop, R&B, and Alternative influences that has long defined his catalogue. The title itself hints at themes of absence, distance, persistence, and visibility, carrying the suggestion of an artiste reflecting on his place within an industry that often moves rapidly from one moment to the next.
Arriving as the first instalment of a larger concept, the project finds Ycee drawing upon the experience, adaptability, and artistic confidence accumulated across more than a decade in the spotlight, offering another chapter in the career of an artist whose ability to evolve has remained just as important as the talent that first brought him attention.
“OOSOOM (Intro)” opens Out of Sight – Out of Mind: Volume 1 not with music but with conversation. Framed as a mock radio broadcast, the spoken-word introduction welcomes listeners to “ANBT Radio” before handing the floor to a caller affectionately nicknamed “Business”, whose heartfelt words of encouragement immediately establish the emotional undercurrent that quietly runs beneath the project.
Against sparkling pad chords, a rich bass foundation and swelling synth strings, the message is one of reassurance, brotherhood and unwavering support rather than bravado. As he reminds Ycee, “Bro wherever you are in the world you’re in my prayers/ Your family is in my prayers … Don’t ever forget what you’re worth/ Don’t ever forget your power”. It is an unexpectedly vulnerable introduction, setting a reflective tone before a single verse is delivered and gently easing listeners into the world of Out of Sight – Out of Mind: Volume 1.
The emotional palette established by the introduction flows seamlessly into “Leave Me Alone”, with the same lush synth textures and weighty bass carrying over before clacking Afro-Fusion percussion and steady four-on-the-floor kicks gradually bring the rhythm to life. Ycee enters with a throaty, gritty vocal delivery, allowing the roughness in his voice to amplify the song’s emotional core rather than simply its aggression.
Log drums provide both low-end impact and an additional melodic layer beneath the chorus, where he briefly softens into semi-sung melodies that contrast beautifully against the otherwise rugged performance. The refrain, “I’m living my life/ Can’t do it tonight/ Won’t stop at the light/ Please leave me alone”, captures the isolation and emotional exhaustion at the centre of the record, while his verses remain packed with clever punchlines and vivid imagery that never distract from the narrative throughline. Every bar serves the larger story, balancing sharp lyricism with an intensely personal performance whose rawness makes every emotion feel earned.
The haunting atmosphere continues on “Balling Forever”, where detuned bell synths and a growling bass synth establish a melancholic melodic foundation before an off-kilter, syncopated drum arrangement settles into an infectious groove. Soft synthesiser layers gently expand the harmonic landscape, while Ycee maintains the same gravelly vocal texture, this time leaning further into melodic cadences that flirt with Afrobeats phrasing without abandoning his rap roots. A piercing saw-wave synth cuts through the mix to define the simple but memorable hook, giving the repeated declaration, “Ba mi pe obinrin meta [Call three women for me]/ I’m in the business for pleasure/ Shawty gon come if I let her/ We gon be balling forever”, an almost hypnotic quality. Rising singer Damilaremusic makes a brief but impactful appearance, bringing a distinctly street-rooted melodic sensibility that complements Ycee’s delivery rather than competing with it. His smooth bridge introduces a fresh vocal texture before stereo effects widen the chorus, helping transform a straightforward refrain into one of the project’s most memorable melodic moments.
If the previous tracks simmer with restrained intensity, “Island Girls” raises the energy considerably. Grungy buzzing synths, industrial textures and a growling sub bass introduce the record before clacking Afro-Swing drums burst into motion beneath a playful hook from PsychoYP, whose melodic refrain immediately anchors the song’s carefree spirit: “Mandem don’t want beef with me/ Girls come from North, West, South and East/ Island girls pull up on fleek/ I touchdown and make them flee, bleed, please”.
One of Nigerian rap’s most distinctive younger voices, PsychoYP injects his effortless melodic swagger into the record before Ycee takes over with a rapid, comfortably controlled flow packed with witty references and athletic rhyme patterns, gliding through lines about Theo Walcott, the World Cup and even World War III without sacrificing clarity or momentum. Beneath them, the instrumental remains relentlessly active, layering busy percussion, rumbling 808s and textured synth bass to create one of the most energetic moments on Out of Sight – Out of Mind: Volume 1. PsychoYP returns with his signature rapid-fire melodic rap in the closing verse, matching Ycee’s pace while adding his own distinctive cadence, before the hook closes the track amid additional pitched vocal layers that further amplify its infectious, high-energy finish.
Trading the Afro-Swing bounce for uncompromising Hip-Hop grit, “The Gees” arrives with hard-hitting drums, snapping snares, rattling hi-hats and a prominent sliding 808 that drives the record forward with relentless momentum. Beneath the percussion, a chopped melodic sample and understated bassline establish just enough harmonic colour without distracting from the record’s primary objective: hard bars. Ycee attacks the beat with chest-thumping confidence, his gritty delivery shifting fluidly between melodic inflections and rapid-fire rap cadences as he paints vivid street-centred imagery. His lines, “Just another day in the trap/ See me when I lace the beat up and I blaze on the track/ When I touchdown in they state pon the map/ Split that shit that’s outta pocket but I stays in my bag”, perfectly capture the song’s swaggering energy.
Rapper, Dremo, joins him with the same commanding intensity, matching Ycee’s aggressive cadence bar for bar while bringing his own unmistakable street credibility to the collaboration. The hook’s repeated chants of “Call up The Gees” are spread across the stereo field, supported by subtle autotuned ululations that broaden the melodic texture without softening the song’s confrontational edge. The result is a straightforward but highly effective display of lyrical bravado delivered with conviction from both emcees.
That momentum spills directly into “ITK”, although this time the production pivots towards drill and grime. A trilling piano arpeggio immediately establishes a sombre atmosphere before rattling hi-hats, sharp click snares and thunderous kicks firmly root the record within its menacing rhythmic framework. Chopped vocal samples weave through the instrumental while sporadic bass hits and sharp synth string accents steadily expand the arrangement without sacrificing its oppressive mood. Ycee’s hook is delivered with restrained menace, allowing small melodic turns to punctuate lines like “Who that? Where them dey?/ All those ITK/ Wey no know their place/ Yeah you know what I mean/ All I do is win”. Once the verses begin, his autotuned melodic approach constantly shifts shape, alternating between tightly packed rapid-fire passages and more spacious phrases whose flexible rhyme schemes make the performance feel dynamic rather than mechanical. References to moving “like a ninja”, growing “bigger”, questioning “who dey breathe”, and committing lyrical “murder on the beat” reinforce the record’s threatening aura without ever sacrificing musicality. Damian Karma proves an ideal collaborator, arriving with a similarly intimidating presence and distinctive swagger that complements Ycee’s performance while preserving the song’s dark, dangerous energy from beginning to end.
Following three increasingly confrontational records, “No Favours” marks one of the first clear stylistic pivots on Out of Sight – Out of Mind: Volume 1. Cool Afro-Fusion percussion, rattling shakers, crisp snare hits and an agile synth bass glide over a reversed sample and occasional brass stabs to create a noticeably lighter sonic palette. Ycee responds by abandoning his gritty rap voice in favour of an easy, melodic delivery, demonstrating the versatility that has always quietly sat alongside his lyrical ability. The hook, “I said you should know I’m barely in Lagos/ I don’t even know my neighbors/ Smoking on premium flavours/ Man just do me one favour/ And please don’t do me no favours”, is carried by relaxed melodies supported with light backing vocals and tasteful ad-libs, while the verses continually blur the line between singing and rapping. Some bars receive the rhythmic emphasis and punchline-heavy treatment of a traditional rap performance, while others lean fully into melody, allowing him to shift naturally between both worlds without sounding forced. It is a subtle but important reminder that Ycee is equally comfortable navigating Afro-Fusion as he is uncompromising Hip-Hop, making “No Favours” an effective bridge towards the more melodic second half of the project.
Rather than rushing into the transition, “Love, Lara (Interlude)” allows Out of Sight – Out of Mind: Volume 1 a brief moment to breathe. Retaining the reversed sample and bass-driven instrumental palette introduced by “No Favours”, the interlude replaces performance with intimacy as a female voice leaves an encouraging voicemail reminding Ycee of his worth. “I just want to remind you/ That you are a king/ Your crown can never be lifted/ You deserve success/ You deserve happiness”. Beneath the spoken message, the instrumental slows into a half-time pulse while expressive saxophone solos and gentle guitar phrases gradually emerge, acting less as accompaniment than emotional punctuation.
Like the opening voicemail on “OOSOOM (Intro)”, the interlude deepens the project’s narrative thread, but it also functions structurally, gently guiding listeners away from the hard-edged rap focus of the opening half and into the more melodic, emotionally expressive world that defines the remainder of the album.
The transition is completed beautifully by “Ba Nkan Je”, which fully embraces Afrobeats from its opening moments. Triplet snare patterns, soft pad chords, delicate melodic phrases and a warm, thrumming sub bass establish an inviting backdrop over which Ycee does something he has been gradually hinting at throughout the project: he simply sings.
Confidently occupying a noticeably higher register, he delivers fluid Yoruba melodies that foreground his vocal ability rather than his rap instincts, allowing the straightforward instrumental to frame his performance without competing for attention. His romantic storytelling unfolds naturally through lines such as “Mo ni ma ba mi wi ma ba mi so mo oh/ Girl this your loving make me want more oh/ I swear I don dey for more oh/ Emi lomo tan so”, while playful moments including references to being “bad as e bad” and girls who “dey buga” keep the narrative light without sacrificing sincerity. Even when subtle harmony vocals appear, they function primarily as accents rather than replacements for the lead melody, reinforcing just how much confidence Ycee places in his singing. Coming immediately after the interlude, “Ba Nkan Je” feels like the true beginning of the album’s second act, revealing an altogether softer and more openly romantic side of the artist.
Continuing the more melodic direction of Out of Sight – Out of Mind: Volume 1, “Me Or Me” pairs smooth, filtered soul chords with energetic dancehall-inspired percussion, where sharp snares, rounded kicks and thumping log drums provide rhythmic momentum without disturbing the song’s gentle R&B foundation. Once again, Ycee commits fully to singing, leaning into Drake-esque melodic phrasing as he delivers heartfelt confessions over the understated instrumental. The repeated refrain, “Girl it’s either me or me/ Either me or me/ I know that I fucked up/ Baby girl don’t even say it/ It’s either me or me/ I’m the one that loves to chase/ So girl just lead the way”, captures the vulnerability at the centre of the record, while his soft-spoken delivery keeps every line sounding intimate rather than theatrical. Sparse backing vocals appear only at carefully chosen moments, subtly widening the melodic landscape without distracting from the lead performance. Like “Ba Nkan Je”, the arrangement trusts Ycee’s voice to carry the emotional weight, allowing expressive melodies and understated vocal inflections to remain the song’s focal point.
That blend of melodic confidence and rap sensibility reaches one of its strongest expressions on “Kigali”. A spoken introduction rides atop booming 808s before melting into warm electric piano chords, smooth basslines and crisp Afro-Fusion percussion, with clacking snares, rattling shakers and sliding bass creating a spacious yet groove-filled backdrop. Heavy vocal effects and seamless transitions reinforce the song’s dreamy atmosphere as Ycee alternates effortlessly between soft sung passages and flashes of melodic rap swagger. His hook, “So now it’s 5am out in Kigali, you dey on my mind/ Girls, that’s on my line/ But that’s none of your concern/ I’ll be rollin’ loud and smokin’ sticky, it’s just how I’m designed”, perfectly illustrates this balance, pairing affectionate confession with the confidence that has defined his rap persona throughout the project.
South African singer KLY arrives as a natural complement rather than a contrast, bringing his signature high-register vocals to the record with effortless warmth. His soaring melodies are enriched by multiple layers of harmonies and supporting vocals that make the chorus feel especially lush, tying the project’s vocal identity together while allowing both artists to showcase their complementary strengths.
Bright, summery guitars usher in “Lemonade”, where hard-hitting bass, dancehall-inspired Afro-Fusion drums and sharp stereo chord stabs immediately lighten the mood. Ycee maintains the melodic approach established throughout the second half of the project, singing comfortably in both Yoruba and English with an easygoing charm that perfectly suits the record’s warm-weather atmosphere. The playful refrain, “Lemonade, lemonade/ Girl you are the one I wanna sip up when I’m in the shade/ When it rains, when it rains/ Baby hit me up whenever you know that it’s getting late” captures the song’s breezy romantic spirit, while the production remains intentionally uncluttered to give his vocals ample room to breathe. The second verse gradually reintroduces Ycee, although even here his delivery never returns to the grit of the album’s opening stretch. Instead, witty references inject playful sensuality into the narrative through a smooth, pop-rap flow that glides comfortably across the instrumental. Gentle jazz piano flourishes close out his performance before the groove gradually dissolves into textured vocals, bringing one of the album’s brightest moments to a relaxed conclusion.
The mood turns introspective once more on “Brokenhearted”. Emotive mallet chords and bright keys establish the harmonic framework before triplet Afrobeats drums, rattling shakers and a weighty bassline enter beneath chord progressions that remain deliberately sparse until the chorus expands the arrangement with strummed guitars and additional melodic layers.
Here, Ycee once again places complete trust in his singing, delivering straightforward melodies whose emotional sincerity does the heavy lifting. His lyrics openly confront regret and emotional fatigue, particularly through lines such as “Girl, I seen sunshine and I seen rain/ Seen dark nights wey dey bring pain/ I made mistakes that I can’t change/ Lost love that I can’t save/ All of these weighing on my conscience”, before the chorus arrives with layered harmonies to reinforce the weight of his confession. The simple structure never distracts from the narrative, instead allowing his expressive vocal performance to remain at the forefront as tasteful vocal effects gradually usher listeners towards the project’s closing chapter.
Closing Out of Sight – Out of Mind: Volume 1 is “With You”, a vibrant Afro-Piano record that injects one final burst of energy. Rattling shakers, percussion-driven drums, four-on-the-floor kicks and rolling log drums establish an infectious groove while Ycee opens with smooth, genre-appropriate melodies sung comfortably across both Yoruba and English. Layered backing vocals support the hook as electric guitar riffs weave around bright synth melodies, creating a lively backdrop for lines like “These things dey burst my head/ But girl when I’m with you, with you/ Tell me baby kilo tu ku, tu ku [tell me, baby, what’s happening?]/ Cos girl when I’m with you”.
As the song progresses, heavy grand piano chords briefly interrupt the otherwise sunny arrangement, introducing a surprisingly sombre harmonic shift before the production quickly returns to its buoyant Afro-Piano pulse. It is an unexpectedly striking sonic detour that adds welcome contrast without disrupting the song’s momentum. Bright piano accents, buzzing synth textures and a warm bass guitar carry the groove through its final moments, providing Out of Sight – Out of Mind: Volume 1 with an energetic yet melodic conclusion that neatly encapsulates the softer, more expressive side of Ycee introduced throughout the album’s second half.
The central conceit of Out of Sight – Out of Mind: Volume 1 is evident almost immediately. From its title to its cover artwork depicting two versions of Ycee, the project is built around a clear dichotomy that cleverly unfolds across its two-disc structure. Disc One introduces the harder-edged Ycee, the gruff, gritty rapper armed with tight flows, sharp punchlines, menacing delivery, and unwavering confidence. His voice is throaty, raspy, aggressive, and brash, perfectly suited to the hard-hitting hip-hop production surrounding him. Following the emotional reset provided by the interlude, Disc Two reveals an entirely different disposition. Here, Ycee leans into melody, romance, soulfulness, and expressive singing, presenting a calmer, more reflective and emotionally open artist. It almost feels like two distinct versions of the same musician coexisting within one project, one made for the boys, the other for the girls, yet both unmistakably Ycee.
That duality ultimately becomes the greatest strength of Out of Sight – Out of Mind: Volume 1 because it places Ycee himself firmly at the centre of the experience, allowing his remarkable versatility to shine. Whichever version steps up to the microphone, the quality of the performances never wavers. The Ycee of Disc One reminds listeners exactly why he earned his reputation as one of Nigerian Hip-Hop’s premier lyricists, delivering heavyweight performances built on lethal penmanship, confident flows, braggadocious charisma, menacing energy, and consistently clever bars. It is the sort of rapping that comfortably stands bar for bar alongside the very best. Disc Two, meanwhile, reinforces an altogether different pedigree, that of an accomplished vocalist.
While aided at times by tasteful autotune, the underlying performances remain strong, supported by memorable melodies, fitting lyricism, smooth phrasing, and the same wit and wordplay that define his rap records. Even when he does return to rapping during the latter half of the project, his cadence, delivery, and overall approach shift so dramatically that the performances almost feel like they belong to an entirely different artiste. It is an extraordinary display of adaptability, with Ycee providing as much variety himself as the featured artistes appearing alongside him.
Ironically, it is this very dichotomy that also exposes the project’s few shortcomings. While Ycee’s performances remain consistently excellent, some of the surrounding musical elements do not maintain quite the same level of consistency across both halves.
Disc One benefits from particularly striking production, with hard-hitting instrumentals that feel like statements in their own right, full of grit, personality, and enough rhythmic and melodic character to establish each song’s identity immediately. The engineering is equally impressive, making inventive use of vocal processing, effects, and subtle experimental touches that reflect a great deal of care and intentionality.
Disc Two, by comparison, adopts a more familiar Afro-Pop and Afro-Fusion palette. While those cleaner, more understated instrumentals successfully create space for Ycee’s singing to flourish, they rarely command attention in the same way as the first disc’s production. Similarly, the engineering becomes a little more conventional, stepping away from the adventurous vocal treatments and meticulous experimentation that made the opening half feel especially distinctive. None of these moments are poorly executed by any means, but they occasionally lack the same sense of boldness and sonic authority that gives Disc One so much of its character.
Taken as a whole, however, Out of Sight – Out of Mind: Volume 1 is an impressively realised project that reminds listeners just how complete an artiste Ycee has become. Whether operating within hard-edged Hip-Hop or melodic Afro-Pop, he demonstrates the experience, versatility, and confidence of a musician who has spent well over a decade refining every facet of his craft. In many ways, the project’s dual structure becomes something of a superpower, allowing him to satisfy both sides of his artistic identity without forcing either to compromise. He delivers the uncompromising rap record longtime fans have longed for while simultaneously embracing the commercially accessible melodic sensibilities that have also become central to his catalogue.
The result is a project with something to offer every kind of Ycee fan, regardless of which side of his artistry they gravitate towards. More importantly, it serves as a timely reminder of his talent, reinforces the legacy he has built over the years, and reignites excitement around his continued evolution. With the title explicitly promising further instalments, Out of Sight – Out of Mind already feels less like a standalone release than the opening chapter of what could become a fascinating and rewarding series, particularly if future volumes continue exploring both sides of Ycee with the same conviction displayed here.
Lyricism – 1.5
Tracklisting – 1.6
Sound Engineering – 1.3
Vocalisation – 1.5
Listening Experience – 1.5
Rating – 7.4/10
Yinoluwa “Yinoluu” Olowofoyeku is a multi-disciplinary artist and creative who finds expression in various media. His music can be found across all platforms and he welcomes interaction on his social media @Yinoluu.