Releasing a sonic project— be it a mixtape, an EP, or an album — is always a milestone in its own right, regardless of any given artist’s popularity or reach. Crystallizing their creative vision at a particular moment in time, releasing a body of work, no matter how lengthy it may be, is an act of intention— a deliberate offering to the world that captures where they are both artistically and emotionally. And for Lebanese-Mexican songstress Blu Fiefer, her latest drop, dubbed Villain Bala Cause, takes the form of a personal manifesto that chronicles her journey and story, serving as her debut album.
Coming as her first full statement, the up-and-coming artist ventures through— and fuses— many of the genres that have long inspired her and continue to shape her sound. Drawing from Arabic hip-hop, derbake-infused pop, electronic synths, Afrobeat, and touches from classical music, the genre-bending project was conceived over a period of four-years, unfolding as a layered self-portrait in true Fiefer fashion.
At its core, Villain Bala Cause is about introspection, fully written, produced, mixed, recorded, and even directed by herself. Asserting creative control in an industry that rarely grants it, the solo-led venture still leaves room for collaboration, inviting a few carefully chosen guests to contribute without diluting the project’s singular vision. Across 12-tracks, three features appear, handpicked to add onto the Beirut-based artist’s universe. From Palestinian rapper Mehrak, Iraqi-Swedish femcee Nayomi, and Moroccan-Egyptian wordsmith Perrie, each artist expands on the project’s plethora of themes, adding their own truths to Fiefer’s narrative without compromising a single bit of it.
When it came time to review the album, we felt it was only right to pass the mic to a fellow musician—someone who could offer deeper insights and a more nuanced perspective than we (probably) could. Enter Algerian singer, songwriter, Losez. At 25, the up-and-coming artist has already made a name for himself across the creative spectrum, spanning music, fashion, and performance art—making him a natural fit to dissect a project as defying as Villain Bala Cause.
‘Villain Bala Cause’ review by Losez:
It blends modern production with traditional influences, but unlike many attempts that come off as gimmicky or overly nostalgic, this feels authentic. It doesn’t take the easy route or follow a conventional formula—and that unpredictability fits perfectly with the “villain” persona at the project’s core.
The blend of seemingly “opposite” instruments, sounds, and mixes throughout the project works surprisingly well. It’s not orthodox—nor is it the obvious choice—but that’s exactly what makes it stand out. I’m not saying it redefines genres, but whatever it is, it’s executed so well that its quality is impossible to ignore.
As someone who loves everything from derbake to 808s, clean and polished mixes to raw vintage analog textures, ’80s sheen to distorted, unconventional blends—and everything in between—I can genuinely appreciate how this project navigates that entire spectrum with intention and skill.
The project draws a lot of thoughtful parallels between seemingly “opposite” elements—whether it’s sounds, instruments, vocals, lyrics, or moods—which adds depth to a body of work that already carries a strong sense of direction and identity, even without being a full-on concept album.
“Everybody is the villain of a story”—that line hit home. I feel like one too, and I can feel that energy woven through the project. I can easily picture myself walking the streets, headphones on, soundtrack to my own villain era playing loud.
DAB7 was my favorite track. The production is absolutely insane. Nonchalant flows layered with aggressive, bitcrushed ad-libs create this beautiful duality—two sides of the same song. The contrast between the heavy synths, deep bass, and raw derbake is masterfully executed. It’s chaotic and clean at once, and that balance is hard to pull off—but it’s done here, and done super well. Then comes KHATAR. This one could easily pass for a Timbaland x BNYX collaboration—but it’s unmistakably Blu Fiefer. The sound is slick, confident, and loaded with attitude. I would love to see this performed live; it feels made for the stage with all its punch and charisma.
To round up the podium, I’d put Ekhi Hemme in my top three as Nayomi and Perrie absolutely snapped on this one. Their individual flows and energies are distinct, yet they complement each other perfectly—like Team Rocket, in the best way. It’s a crazy trio that works, and honestly, discovering both of them through this track was a highlight. I’m definitely diving into their catalogs after this.
Special Mentions: Hizzi, Manifesto, and Ijit el Shorta, which all deserve a shout. Each song brings something different to the table, and rounds the project out in a way that feels intentional, not filler.
The interlude offers a much-needed breather after the high intensity of the first half of the project—but it doesn’t pull you out of the dark, heavy synth-driven atmosphere. The mixing and lyrical tone remain consistent, keeping you grounded in the same sonic universe.
The first half hits harder—more bass-heavy, more distorted, more aggressive. But in the second half, while that edge is still present, we start to hear lighter beats and more atmospheric textures. Tracks like the beautiful Ijit el Shorta bring a sense of depth and air, showing another layer of vulnerability without losing the project’s core intensity.
