In the release of the “CREEPIN/FURTHER (2 IN 1)”, Proklaim demonstrates the most fertile territory of hip-hop not to be where the purity of contemporary genres lazes, but where the cowardice of borders takes a swing. Dancehall groove and amapiano bounce open the tune, which then suddenly shifts into more earth-bound boom bap power- energy, threatening to leave the listeners trailing years behind, trying to keep up with him. Another parallel in the harmonious interchange between the two songs is how Proklaim is traditionally a lyricist and not only that but also a boundary-changer.
Beneath the vibe, though, there is an academic precision with the way Proklaim puts his vision together. Shaka Zulu miniseries sample is not a stylistic device, it is a reference to leadership, resistance, and ancestrality. It is a reminder of the fact that even despite the catch rhythms Proklaim is working with a reservoir of historical awareness. His rhyme is not phonic- his rhyme is academic.
To go beyond his allusions, there is also the more subtle problem, which is usually neglected by the artistic community: the emotional work, the psychological stress of the creative process. The song gives voice to the part that a lot of society prefers to remain silent: the mental and emotional strain of creativity. Studios such as Proklaim, many of them operating independently and beyond well-travelled geographies, are under intense pressure to be everything to everyone: self-funded, self-promoted and emotionally resilient. However, even the process of directing community, culture and commentary into sound becomes balm. That way, the work of Proklaim provides a model of how to survive within a system of barriers to success.
Elsewhere, in most regions in the world, particularly in the pre-mainstream days of hip-hop, there is still a hesitation towards recognizing the impacts of the element of mental pressure that is projected on creators. Proklaim says nothing specifically about depression or burnout, but by charging on in such an ambitious and global way, so driven by vision he sets an example of defiance of such tags. He says: whether you naming it or not, you can still come above it.
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