Demystifying "Victims of Madness" Album by Wakadinali
Kenyan all-boy group Wakadinali enjoys unprecedented success in the Kenyan drill music scene.
It's only fair to say that they have done a number on Kalamashaka, Wenyeji, K South (Abbas Kubaff and Bamboo), and Kleptomaniax in record sales and the ability to stick together for such a long time.
Suppose Scar Mkadinali's Drill Digest interview is anything to go by. In this case, the work ethic and "separation of powers" they exhibit in their songs bring out each member's role. These habits are manifested on the "Victims of Madness" album, in which Domani Munga does all the street knowledge hooks with fidelity.
The debut Wakadinali mixtape "Ndani Ya Cockpit" was released in 2017. Though a 6/10, the rappers sound like they are yet to find their styles; they exhibit some elements of an identity crisis. Sewersydaa hasn't shed the scales of Kitu Sewer (of duo Mashifta) off his sound completely.
For an adept follower of Wakadinali and Kenyan drill music, one can't help but appreciate the body of work and improvement the trio put in to come up with "Victims of Madness" in 2020.
As the immediate successor of the sophomore mixtape "Ndani Ya Cockpit 2", the album is introduced by a disclaimer about the characters and wording of the whole tape having no relationship with living persons. This institution is an excellent welcome to a classic Wakadinali album that's slur-laden and comes with extravagant boasts of sex, drugs, politics, and human rights.
The following tracks produced by AFRVCA tend to ditch the classic Kenyan instrumentals, and that's not to deny their exceptional quality edging on international music standards. Morio Azenza takes an unlikely combination of Scar Mkadinali, Domani Munga, and the sassy Dyana Cods.
Morio Azenza is the one song that brought Rong Rende to the spotlight. Thanks to its Video shot in black and white, Rong Rende merchandise came into being as Scar Mkadinali wears a baseball hat and a hoodie with the double R logo. On the other hand, Domani Munga has a black hoodie with an inscribed "Ndani Ya Cockpit 2" mixtape cover.
Scar Mkadinali goes missing on the thoughtful "Chesswoh." The song tries to inform the fans and haters alike of the true arrival of Wakadinali in the Kenyan drill music scene. Sewersydaa throws in the line "niliambiwa nicontrol temper ama nitupe iyo ndeng'a/aje na fan alidai me si’ Gangsta ni venye me hutema" ( I was advised to check on my temper or even better drop the gun/ how do I do that yet my fans think I'm no gangsta it's just that I drop the line) and Munga props it up "kushindana na si' ni kujizika" (taking us on is a death wish) he then goes on to share the plight of the East part of Nairobi with the line "East maisha ni magumu" (It's a tough life on the Eastside) on the hook.
Victims of Madness takes a tyrannical twist with "Triple XL. " Sewersdydaa's investigative storytelling ability comes out explicitly on the first verse. It's quite a task picking a winner in this song after listening to Munga say, "stage me hupanadaga na condom/girls kamisi wanazirusha random/ndawafanya venye alifanya Khal Drogo Khaleesi the Mother of Dragons" (I get on stage with my condoms/ladies randomly tossing panties/I'll tear you up like Khal Drogo did Khaleesi) and for those who have lived in Eastlands Nairobi as teenagers would resonate with Scar quite well when he raps "fala alikuja na babake duanzi wote walirudi na macrutches" (The idiot dropped here in the company of the dad and guess what they went back in crutches)then he stirs it some more, "fala tulimpata offside ngumi mpaka ameze taxin" (We rained on the moron, the blows had him swallow his tooth).
On the reflective "Love Song," Munga Domani continues to do the heavy lifting with the help of Sewersydaa. Contrary to the song's name, there's not much to write home about it and not the best song on the album.
Scar Mkadinali makes a grand return with the AFRVCA produced "Extra Pressure," which effortlessly bests any other track from the tape. This tune is the single that cemented Sewersydaa as very political with exceptional storytelling that's easy to catch on. Munga Domani did the catchy hook, followed by a crazy second verse that takes you on a tour of Nairobi. To sign off, Scar fulfills the prophecy of "Triple XL" in which he raps "hii ni wa wasupa wamebeba kubeba/this year napita na Rono" (This is dedicated to the beautiful ladies, and this year, Rono 'm a make you my b*tch) by having former NRG radio presenter Chebet Rono vixen his verse on the video.
What follows is an interlude much more than all the interludes on the Notorious BIG's "Ready to Die." A young woman brings her mother's attention to thugs being shot outside their house. You can only picture them peeping through the gate to watch the scene amid the blast sounds tearing the air. This public execution might sound like drama to the cool kids, but daily life in Eastlando (East part of Nairobi).
The song "Dilated" has punchlines from all three artists. Still, it can't beat "Punchline Kibao" by Ibra Da Hustler, Kimya(Bamboo's brother), and Johnny Vigeti in a head-to-head contest. It drags along but provides the good slowdown needed to usher in the next song.
With a classic drill music type beat with violin, "Njege/Sanse" is our Kenya's "F*kc the Police" with Munga complaining of arbitrary arrests on the hook "Njege masanse wakwende!/wananifinya kende juu ya kuseti kwangu" (Cops should take a dump, they are all over me minding my business). He throws shades at the now washed-up socialite Vera Sidika with her ever-changing skin pigmentation. Sewersydaa remains calm in his activism, calling for the resignation of the President while portraying a very corrupt society he sees around him. One could imagine only what Scar would have done with such a charged theme.
"Wapi na Nani" is nothing out of the ordinary, but one for the Easlando thugs and motorbike rides along the streets of Nairobi. The guest appearance by Sir Bwoy didn't make a splash as anticipated, but one can't deny the compatibility of all verses. Scar Mkadinali is nowhere to be seen, but Sewersydaa spares a line for his counterpart "tutakuwachia Scar kwa face tuanze kukuita Montana'' (We'll f*ck up your face and then nickname you Scarface's Montana). This song is for the keen listener.
The smash hit "Nyaranyara," the ultimate Covid 19 lockdown song, is the absolute fan favorite with the most streams on Spotify than any other song on the "Victims of Madness" album. Sewersydaa takes the podium and swings for the fence fighting for the legalization of weed in the line "ngwa-East imepeleka vijana wengi Inda it's high time Kenya ikuwe legal" (Weed has got so many incarcerated it's high time authorities legalized it). Munga Domani has punchlines like "sikumeet huyo msichana/nilidate hiyo vagina" (I wasn't there to date; I was there to get laid) and shout-outs the now ineffectual "Insyder magazine" started by Adam. Scar makes a return and statement hyping Sewesydaa's plea but in a bit cockier way when he says, "sanse atokee hii ngwai haizimwi" (Light up the weed, we aren't afraid of the cops). He also echoes what Eastland's police tell hardened criminals "OCS OCS alisema tupotee na tusiwai rudi mjini" (OCS gave an ultimatum, that we get lost and never show our faces ever). Mostly this statement ends up with dead bodies and distraught parents.
"Pima Poa" is a cliche popular in the Kenyan mainstream and black market. The song title is excellent, but it seems the verses don't achieve their intentions to the normal fan. It's much deeper than rap.
Truth be told, "Kim Jong Un," named after the notorious North Korean Supreme Leader, is the crown jewel of the "Victims of Madness" album and the Kenyan drill music scene. At this point, it's safe to say that Munga Domani has provided tighter hooks in this tape than Nyashinski ever did for the Kleptomaniax. Sewersydaa does his part, but Kim Jong Un makes one feel guilty of a wasted song. Umoja 2 gets a mention in the song, elevating the neighborhood to almost the same category with Dandora as Hip-hop homes.
A star-studded lineup convenes to lighten the Kenyan drill music scene with "Avoid Those People." Wakadinali appears alongside Boutross, Breeder, Elisha Elai, Dyana Cods. The legendary K South rapper Abbas Kubaff is the chief guest of the song. Each rapper attacks the beat as if it was a cypher while trying to upstage one another. "Avoid Those People" is a typical Rong Rende song because Wakadinali did well, and Dyana Cods performed better than Boutross. It's difficult to know what Breeder stands for in the Kenyan drill music, and Elisha Elai needs to do a lot to measure up with Swaleh, Zakah, Kah, and Ramsizo(all from Dandora). The marathon is too much for Abass, and one can't believe he's the artist behind the hits "2050" (featuring Malik and Chiwawa) and "Mo Fire" (featuring CLD and produced by Hiram).
"Lockdown" has not much impact on the whole product. Overall, the "Victims of Madness" album is a 8/10 and should be archived beside E-sir's 2002 "Nimefika" album. The album is a revelation of talent and a symbol of resilience, making Wakadinali a household name. And with fame comes hate, and there is no better way to affirm this than quote the near-immortal words of Arcane League of Legends "Oh the misery, everybody wants to be my enemy!"
