Lord Spikeheart: The Adept Album Assessment


A veteran of Nairobi’s metallic scene and frequent collaborator inside 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 other forms of abrasive music. The by means of 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, searching for catharsis within the clashing. Kanja’s debut solo album surpasses the may of his previous work by a number of levels whereas showcasing his aptitude for integrating disparate sounds. Listening to it seems like moshing within the Mariana Trench, being hurled by the currents by means of 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, always 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 means of valleys of low finish. Drums smack and pound in opposition to one another like monstrous molars. River programs of snarls course by means of strata of distortion and static. From the opening snare strikes to the closing synths, damaging area is uncommon. Kanja and crew pack these songs like a metallic turducken.

The report 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 report’s most dancefloor-ready monitor, “4 AM within the Mara,” Spikeheart and co-producer DJ Die Quickly let pressure smolder for almost 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 all three songs produced by mischievous BBBBBBB producer Saionji, opens with gurgling synths, a meditative backbeat, and gusts of drone that recommend a waterside temple. After whipping right into a tempest of bass kicks, staccato grunts, and prickly static, it simply retains reworking: first a roaring demise march, then simmering hums and chatter. The report molts greater than a cicada brood.

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