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A veteran of Nairobi’s metallic scene and frequent collaborator throughout the Nyege Nyege collective of experimental digital artists, Martin Kanja speaks a number of dialects of extremity. As Lord Spikeheart, the vocalist and producer has made bristling grindcore along with his now defunct experimental band Duma, together with pounding industrial, creaky noise, and plenty of different kinds of abrasive music. The by line in all his work, which mixes world strains of metallic, digital, and conventional music, is depth. He gravitates towards preparations which might be serrated and dense, in search of catharsis within the clashing. Kanja’s debut solo album surpasses the would possibly of his previous work by a number of levels whereas showcasing his aptitude for integrating disparate sounds. Listening to it looks like moshing within the Mariana Trench, being hurled by the currents by liquid darkness.
The Adept is a heretic metalhead’s ode to all drums. Backed by producers and vocalists with roots in digital hardcore, noise, and rap, Kanja welds blast beats and membership grooves right into a nightmare engine of rhythm. He gleefully steers this hulking frigate, maybe eager lastly to be seen as a lead act. On Duma, his feral vocals primarily rode and accented the percussion, taking a backseat to bandmate Sam Karugu’s layered beats. Right here, his repertoire of growls and grunts dictates the form of the chaos, consistently pushing the songs ahead or lurching them sideways.
The preparations are even thicker than the marbled sound slabs of Duma. Warped wails, ghostly chants, and shrieking ululations whip by valleys of low finish. Drums smack and pound in opposition to one another like monstrous molars. River techniques of snarls course by strata of distortion and static. From the opening snare strikes to the closing synths, adverse house is uncommon. Kanja and crew pack these songs like a metallic turducken.
The file isn’t simply an train in compositional gall; it’s as dynamic as it’s confrontational. Whereas some songs, just like the trap-infused “thirty third Diploma Entry,” storm ferociously out the gates, others construct painstakingly to their peaks. On the file’s most dancefloor-ready observe, “4 AM within the Mara,” Spikeheart and co-producer DJ Die Quickly let pressure smolder for practically two minutes earlier than dropping a thick bassline. “Pink Carpet Sleepwalker” swings from a haunted whorl of distorted Fatboi Sharif vocals to trance synths and later gabber drums stacked with screams, lastly dissolving into drumless babble.
Likewise, “Sham-ra,” one in every of three songs produced by mischievous BBBBBBB producer Saionji, opens with gurgling synths, a meditative backbeat, and gusts of drone that counsel a waterside temple. After whipping right into a tempest of bass kicks, staccato grunts, and prickly static, it simply retains remodeling: first a roaring dying march, then simmering hums and chatter. The file molts greater than a cicada brood.
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