Shallipopi “Presido La Pluto” Album Review

Presido La Pluto


  • Genre: Worldwide
  • Date: 10 Nov, 2023
  • Content: explicit
  • Region: NGA
  • Track(s): 13
  • ℗ 2023 Plutomania Records / Dapper Music & Entertainment Under Exclusive license to Dvpper Digital Ltd.

Shallipopi &Quot;Presido La Pluto&Quot; Album Review, Yours Truly, Reviews, February 23, 2024

After dropping his EP earlier this year, Shallipopi’s album debut with “Presido La Pluto” solidifies his reputation as a significant player in the Nigerian music industry. This album showcases Shallipopi’s talent and musical prowess with memorable melodies, profound words, and exceptional collaborations.

Shalli has developed a reputation for writing phrases that are easily repeated and, most of the time, laced with the irreverence of street transactions and youthful exuberance. This reputation began with “Elon Musk,” which went from an underground smash to a club mainstay. “Obapluto,” from his “Planet Pluto” EP, is the emblem of that legacy. The street culture of Benin has a complete influence on his lingo. In keeping with the maxim “strike while the iron is hot,” Shallipopi dropped his major debut album, “Presido La Pluto.” This ambitious project should capitalize on his position as one of the more disruptive and talked-about performers in Nigerian rap this year.

Album Art

Shallipopi &Quot;Presido La Pluto&Quot; Album Review, Yours Truly, Reviews, February 23, 2024

The album art is quite catchy. According to the album cover, Pluto’s president appears to be on his planet, which also has some egg-like details that suggest his skill is still being bred and will eventually be released. There is only one explanation for the flames and massive smoke: it’s Shalli Time, and his intense activity style lights everything on fire.

Tracks And Features

The song “Never Ever” begins the listening experience, and it doesn’t get any more genuine than his first line—comparing his life to a moving train, describing his struggles before fame, and informing anybody who will listen that he is now aware of the gold-digging going on around him. How he compares himself to ASAP Rocky and Riri is interesting to hear. He claims that no one in the industry has ever come through the way he intends to. The track moves from hazily contemplative to effortlessly flexing—this has dog status. Indeed, this is a suitable beginning. The tone gives the Shallipopi musical archives some depth, even if it is subdued and doesn’t make a loud opening statement.

The classic Shalli flow with hazy synths and log percussion is back on “Evil Recieve,” sharpened by reverbs. It’s always impressive to hear Shallipopi flow with his chosen beats; nobody else could sound quite like him. The one-liners sound as lazy as ever but have a solid foundation, as it is evident that the beat’s creator has overindulged in Amapiano’s more experimental electronic side. Although this song feels more extended than most Shallipopi songs, the energy doesn’t go away. Among other things, the song’s themes allude to his hustling, living rich, the more contentious aspect of internet fraud that most reviewers have discussed, and the life of a gangster.

The album’s first feature, Odumodublvck, appears on “Cast.” This feels reasonably energetic, and the song has the potential to rock clubs; every word in the chorus belongs on repeat. The “Eziokwu” crooner delivers the song perfectly but lacks the fiery intensity of a significant Odumodu guest verse. There are undercurrents of dishonesty and vibrations connected to relationships. Even though Shallipopi usually plays the good guy before engaging in the cheating scenario, there is an overt use of profanity.

The song “More Than Me” slows down the pace when Shallipopi shares his ground-level tale. Though this isn’t one of the better tunes when considering the number of hits he has been able to offer the streets to date, he claims his Pluto throne here, and the supporting vocals do justice to his performance. “More Than Me” isn’t one of Shallipopi’s more well-known songs, but it does demonstrate his storytelling skills and attention-grabbing talent. For lovers of Shallipopi’s distinct sound, the backup vocals give the song more depth and improve his performance.

In “Things on Things,” he is clearly and unashamedly praising himself in his egotistical manner. Shallipopi establishes himself in the music business with phrases like “When I fall in, squad dey coordinate”. George Guise’s beautifully shot music video for this song elevates the overall experience for the audience by giving the song’s story a visual component. The lyrics of Shallipopi are brought to life in the video through a masterful blending of vivid colours, engaging dancing, and elaborate set designs. Shallipopi has a captivating personality and a self-assured manner that make him seem like a genuine celebrity and draw in viewers worldwide.

The song “Oscroh (Pepperline)” is akin to “Things on Things,” with Shallipopi continuing to indulge in his ostentatious self-celebration. Through a detailed look inside the singer’s extravagant and opulent existence, this song sheds light on her life and experiences. Through perseverance, Shallipopi has created a lavish and prosperous life for himself, and this glimpse provides insight. The tune of “Sandalili sandalili” is very amusing. Yes, that is supposed to be “standard living,” but let’s follow the common wisdom. In contrast to the subject of luxury, the lively “Sandalili sandalili” melody gives the song a playful touch. Shallipopi’s ability to relate to his listeners and change his approach is demonstrated, making his music accessible to various demographics.

ZerryDL, his brother, and Shallipopi appear in “Wet On Me.” This song is overtly sexual. The song’s plot is so vividly described that it’s sure to be a club hit, but radio play is out of the question because there will be too much censorship to allow listeners to appreciate the song. “Wet On Me” has many explicit and inflammatory lyrics in its lyrics; therefore, there’s not much room for interpretation. Due to its raw and graphic content, the song might not be as accessible to a larger audience and would be better suited for private or adult-oriented settings.

Even though “Over the Seas” is a collaboration between Shallipopi and Focalistic, the Spongebob connection is humorous. Focalistic’s strength lies in his unwavering delivery. Many may interpret the references to a captain on a ship’s voyage and the themes of drug-related pleasures as a clue to his affiliations. If you know, you know. Focalistic’s unquestionable brilliance is evident in his trademark delivery, which is still powerful. Incorporating topics such as drug-related excesses and a captain’s journey reinforces his standing as a talented musician adept at using his music to convey a message.

Given the album’s gamut of emotions, it was appropriate that Tekno’s appearance would close it out. “So What” is a standout track from the album that fans couldn’t hear before its formal release. What a crazy production that is! In particular, the synth riff has much of the groove hanging over it. It’s odd that this song, as club-ready as anything in either artist’s discography, didn’t receive the appropriate single treatment. Shallipopi’s verse is an excellent example of his ability to hold his own on a hit song. This perfectly concludes the 13-track musical voyage of conflicting emotions, especially with Masterkraft’s contribution.


1 Never Ever Shallipopi 2:24
2 Evil Receive Shallipopi 3:51
3 Cast (feat. ODUMODUBLVCK) Shallipopi 2:09
4 More Than Me Shallipopi 2:36
5 Eazy Shallipopi 2:42
6 Things on Things Shallipopi 3:16
7 Wet on Me (feat. Zerrydl) Shallipopi 2:17
8 Iyo Shallipopi 2:29
9 Oscroh (Pepperline) Shallipopi 2:44
10 Over the Seas (feat. Focalistic) Shallipopi 2:49
11 Jungle Shallipopi 3:12
12 Jonze Shallipopi 3:13
13 So what? Tekno & Shallipopi 2:44

Album Summary

Some variation, if not much, indicates that Shallipopi’s artistic abilities are far more complex than currently understood. Since fans don’t know everything about the artist, this trip could last longer than the early moments of viral notice. Maybe that’s another attraction to this record.

Based on what is now available, “Presido La Pluto” solidifies the reputation of an effortless rap hitmaker who understands the power of his quips turned into catchy chants, particularly when combined with those arrangements that are etched on the piano and have strong Benin musical influences. Shallipopi’s dictatorship of street pop is in full force for now. He doesn’t second-guess himself, which is mainly why Shalli has succeeded thus far. It’s impressive that he hardly deviates from his model; too much change too quickly isn’t usually good. Indeed, “clear road for Shallipopi.”


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