If you’re into the pop princesses of yesteryear, pivot your attention to their creative descendent Ahomari (they/them). The Columbia-based artist delivers seductive lyrics and lofi-pop production on GIRL KISS II. When they’re not working on podcasts or eating traditional southern breakfasts complete with biscuits, they’re making immortal music in their home studio. Ahomari describes GIRL KISS II as a ‘Destiny's Child-inspired’ project that exists in it’s own lane. And while Ahomari prides their EP on its anomalous sound- these sounds are built on a rich history of flamboyant-artistry, self-reliance and provocative protest.

GIRL KISS II, a Quiet Year Records release, is available on all streaming platforms including Bandcamp. Ahomari describes the development of the secondary GIRL KISS as a learning process borne from boredom. “I’m bored and have nothing to do- let me start ten projects,” Ahomari joked. “[GIRL KISS II] made me more confident in my own skills to produce my vocals. [The process] also affirmed that what I do is unique to me,” Ahomari said.

At first listen, GIRL KISS II doesn’t immediately sound like any one genre, let alone inspired by the sole genre of pop. “I found where I fit musically and I know how to navigate within that,” Ahomari shared. “[I listen to] Brandy, Outkast and I do listen to KPop,” Ahomari said. Given their kaleidoscopic taste in music, some of the EP’s sonic textures make more sense.

The content, however, is sourced from first-hand accounts of trips to VA. “I love the Neptunes and Janet Jackson and Missy Elliott. I love Virginia,” Ahomari said. They shared that while not from the state, their time in Richmond informed a good portion of their writing choices. Digging even further back- Ahomari likens their sound to the energy given off by another pop legend, Madonna. “My first memory is of Madonna hitchhiking naked on the side of the road in a music video,” they laughed, referencing Madonna’s video “Erotica”.

What isn’t a laughing matter, is the way Columbia receives Ahomari and their openly queer and openly pro-Black platform. On one hand, local media describes Ahomari as “Columbia’s most prolific songwriter”. On the other, Ahomari shared that Columbia both blackballed their name or relegated them (and other Black artists) to incomplete productions. “I find it really odd that there is a renewed interest in my music because of Black death,” Ahomari shared. “I once performed at a local festival [where] all of the Black artists were at a restaurant without a stage,” they said. That was in contrast to how Columbia’s most prolific songwriter remembers the white performers’ spaces. “White artists performed in venues with stages, equipped to handle a performance.” In the wake of worldwide attention on race-relations in America, Ahomari takes support for what it is. “I’m not going to pat you on the back for supporting me,” they said.

Despite making music for years, the toxicity of their local community pushed Ahomari in a largely solo direction. This makes GIRL KISS II super special, considering the EP  features some of Ahomari’s first traditional collaborations. “Me and Taphari were like Facebook friends and I think I saw a video of him lip synching the words to a Lil Kim song,” Ahomari shared. “I remember thinking ‘I need to know this person.’ Taphari is literally one of the most talented people in the world,” Ahomari said. This project also features some production from Eric Fury and marks a collaborative first for the largely-independent producer. “I met Eric in Portland while doing a show,” Ahomari shared. “We didn’t collaborate until around the time I was finalizing this album; when he sent me the instrumental for “My Vibe” I recorded it that night.” 

GIRL KISS II gives laser-focus to relations, situations and risque-conversations. Ahomari’s music reimagines relationships and swaps the archaic notions of dating with the oftentimes stressful, yet fun modern interpretations; “I don’t have the time/ to babysit a nigga for free/ Especially if he ain’t got money/ Got the game f*cked up, be so funny” (Femme on Femme).  Ahomari built atop the precedent set by pop legends like Janet Jackson, Britney Spears and Brandy with regard to subtle yet erotic lyricism.

As for production, the South-Carolinian reworked their own discography using a bedroom setup consisting of a laptop and mic. Conceptually, think of Erykah Badu with “On & On” on her debut album. Then think “& On’s” appearance on Mama’s Gun. Like Badu, Ahomari remixes, innovates and flips their own ideas, vocals, and production into several snips that span the GIRL KISS universe. The sonic-sex that is “Crush Crush Crush (Intro)” bleeds into “Crush (feat. Taphari)” and even interpolates into the “Crush (reprise)”.

“Ur Type” may be another song that Ahomari’s following can recognize. The song was previously released on Soundcloud and Ahomari thought to revive the song from an old drum machine. “Ur Type’ was initially released on SoundCloud years ago [and] that version is longer and less structured,” Ahomari said. Ahomari explained that while they can turn songs fairly quickly, their-own ideation process can technically span years. There are ideas and sounds from before 2018 that Ahomari finds a home for on GIRL KISS II. The oldest song is years ahead of it’s release while the newest additions to Ahomari’s lush discography, “Femme on Femme (Interlude)” and “My Vibe” were created fairly close to the release.

All in all, GIRL KISS II realizes a lot of personal growth for Ahomari. Sure, they source a ton of inspiration from the greats (worth noting that Ahomari is one of Janet’s biggest fans) but Ahomari sources a lot of creative juice from their own genius. They shared that they could be sitting on as many as seven albums if each album had ten songs! GIRL KISS II marks a pivotal point in Ahomari’s career with regard to collaborative-dexterity and creativity; Ahomari manages to include other artists and influences while keeping the spotlight on their own rarity. This EP centers Ahomari within their signature crunchy-pop production. And most importantly, GIRL KISS II proves to Ahomari (and anyone else along for the ride) that they have the capacity to flesh out full studio projects. “No one is in my lane, I made my own lane,” they said.

Ahomari did tease a tertiary and final project that wraps up the GIRL KISS series. The GIRL KISS II outro may lead to a new otherworldly intro- who’s to say?