Evolving beyond the confines of genre isn’t just a survival tactic, it’s a show of artistic growth. That is the biggest takeaway from Chad Saaiman’s latest EP, 4, Pt. 1. The four-track project remains anchored in Chad’s R&B roots but ventures confidently into other musical avenues too, showcasing his versatility and willingness to push boundaries.
Produced by Shaney Jay, 4, Pt. 1 embodies Chad’s extensive years of songwriting experience, complemented by the producer’s craftsmanship. The EP opens with “2 K” featuring Jimmy Nevis – an early 2000s-style breakup anthem, minus the era’s dramatics. Instead, Chad and Jimmy deliver a more subdued but introspective performance. Their seasoned vocals work well together, setting a smooth tone for what’s to follow.
The next track, “Magnificent,” evokes a smooth, sultry sound with hints of BADBADNOTGOOD’s R&B production style. While the song is decent, there’s a sense of familiarity that makes it feel a bit dated. Still, the songwriting is solid, and the track offers a more reflective, laid-back moment to slow down.
“Midnight” stands out as the album’s crowning achievement. A dynamic fusion of three-step, Afro-tech and amapiano, the track feels like a breath of fresh air. Chad’s vocal versatility shines here, effortlessly navigating through different styles and rhythms. The production, with its infectious groove, adds a sense of brightness and energy, making it the most experimental and exciting moment on the album.
Rounding out the project is “Us” – a heartwarming love ballad that draws on the acoustic soul of Raphael Saadiq and blends it with an upbeat, groove-centred rhythm )reminiscent of Tony! Toni! Toné!). The track’s charm lies in its simplicity, with Chad’s voice carrying its emotional weight.
Chad Saaiman’s reinvention of his sound nearly two decades into his career is impressive. Retaining his soulful essence, pushing R&B boundaries and showcasing his growth, this EP offers a fresh glimpse into his evolving artistic direction, leaving listeners eager for what’s next.
