East Mpaka London - Buruklyn Boyz Punchy Style Wins Over Fans
Buruklyn Boyz’ debut album has been long anticipated by hip hop fans. The charismatic duo are the de facto leaders of the Nairobi drill scene, a fact cemented by critical acclaim within Nairobi and beyond the Kenyan borders. From interviews with international blogs, to recognition by culture leaders and curators in the UK itself (epicenter of drill), these two young men have made a name, and built a reputation for themselves over the last two years. They've stringed street anthems in spectacular fashion, making them a current cultural phenomenon. And their well publicized 'kwani ni kesho' tagline,holds quite the significance in Kenyan pop culture.
The Intro is a three and a half minute affair that sets pace for the project. Ajay narrates their musical journey, recalling a time when not many venues would let them perform. The short verses then serve to contrast life before the fame and after the fame. They sum up the main theme of the album in a simple way,teasing the listener to go for more. The songs Pree, Last Air Bender and Dream Ya Kutoka Kwa Block, go deeper into the rags to riches theme. Pree addresses two themes in one ,as love is central to the song too.The rappers find themselves questioning whether the love and affection they are receiving in their relationships is genuine.Is it because of who they are ,or because of their fame? Dream Ya Kutoka Kwa Block, a hit released earlier, is a prayer. It speaks to young men and women who dream of better financial situations and are working towards it.It is also a cry,and a realization that we need to get removed from toxic environments.
Toxicity is a label unfortunately associated with hip hop,and more harshly on drill music. We are all too aware of the arguments about the glorification of violence, drug use and criminal activities. It is a discussion with merit, and deserves an objective approach, but it is not the subject of this article.One thing most fans and critics can agree on, is that the stories narrated in these songs are based on events that are happening. Street life stories and references are staple in this project, the very base dough on which other ingredients are added to make the whole pastry. Catalyst brags about experimenting with various drugs, while Blicky does the same for possession of a gun. Taliban's opening lyric is 'stay dangerous kama Taliban' , a street phrase in Kenyan lexicon that implies one should not be too attached to a romantic partner, in case the relationship ever comes to an end. The mentality behind street hip hopis that one must be tough, something that would explain the above statement and many more throughout the project.
Exaggeration is employed to carve out larger than life personas who are not fazed by the happenings of the street. For example on Callie, the rappers claim they shouldn't be disturbed by people blowing up their phones with the hope of living the lavish life they themselves enjoy. Usikam Hii Section, is meant as a flex. It is rooted in the pride of being associated with a particular neighborhood. It's an anthem that residents of Buru Buru can sing along to and feel a sense of belonging. But the braggadocio for these accomplished artistes does not end there.They are justified in showing off a little, taking into consideration what they have achieved. It is therefore exciting and tasteful when they call themselves a rarity, on the song Last Air Bender that features femcee Silverstone Barz and fellow driller Big Yasa. The foursome seem to have a working chemistry, because this is the second hit they've made ,after BAE earlier this year. The Last Air Bender is a famous, world renowned animation series from Nickelodeon. In the series, the fire bending nation wages a war to colonize the water bending and earth- bending nations. Buruklyn Boyz,compare themselves to the character Aang intending for the fans to draw parallels from the story.They see themselves as a rarity,and the saviours of Eastlands hip hop.
Love is a theme that features heavily in this project. Because Buruklyn Boyz are exclusively drill rappers, they have created a ' gangsta image' in the public psyche. Their tackling of romantic Love and relationships as a theme is not the type of waters fans would expect them to swim in. However, they expertly freedive,deep into this theme in a way that shows an understanding of passionate emotions. Niskize featuring Maya Amolo, is the jewel that sparkles brightest amongst the love songs in the project. It talks about the importance of dialogue and communication in a relationship. The duo manage to make an easy laid back song, with a simple chorus which repeats the phrase 'Nataka Uniskize/I want you to listen'. The guitar inspired instrumental and slow manner of rapping, the melodic cadence make the song a bonafide love song. The tempo accommodates Maya Amolo's dreamy voice and graceful delivery. Nothing But Love features Younglouie58, a close confidante, of the duo.On a latino inspired beat with a beautiful chords and light drums, the group serenades the ears once again. Each of the rappers on the number address a lover, promising to spend more time with them and give them more attention as well. EX is based on another song with a similar title. They take the beat from Nikita Kering's smash hit Ex, and add 808's and drumming that turns it into a drill beat. For their hook, Buruklyn Boyz, sample the chorus of the original song, using auto tune to fasten the paceand make a chipmunk version. They talk about falling in love, telling a story of how a love affair went awry. This is the same narrative told in the song Delete, where Mr.Right, on the chorus and on his verse, uses ICT operations as a simile for a broken romantic relationship. He talks about how deleted files are normally sent to the recycle bin in case they need to be retrieved later. However, in this case, the deleted file, a former lover, is not to be retrieved from the recycle bin for any reason whatsoever. The word play on the song is amazing. Confession goes harder, talking about sex more directly. The performers call it a sin for which the performers need to confess, but instead of sounding repentant, the song ironically takes a naughty, arrogant tone. It's a sex positive anthem, encouraging listeners to let their freak flags fly high, without fearing any judgement.
23, is a feel good anthem that speaks about fashion- a fire that seems to burn within Kenyan street rappers of late.But Buruklyn Boyz do not jump on trends, they set them. Their aesthetic and fashion sense is well recognizable. When they are not in athleisure wear, they are recreating late 90's hip hop fashion with baggy jeans and baggier baseball shirts. Their affiliation with the color blue for their shirts and iconic bandanas, creates a powerful and memorable visual imprint in the minds of their fans. This is brilliant branding, and by extension marketing strategy. In the song 23, they deservedly call themselves cool trendsetters and leaders of a new wave of popular culture.
The guest list feels carefully curated and balanced. Silverstone Barz and Big Yasa are artistes they have worked with in the past, while Younglouie58 is being introduced to their fans for the first time.Maya Amolo,was a surprise appearance,but worthwhile. The cross- genre collaboration not only made a great song, it made the artists work outside of their comfort zones. Some of the beats used, also feature producers the duo haven't worked with before, or worked with just a few times. 'Metro suka doba' is not a tagline you hear often on a Buruklyn Boyz song a lot.
It's fair to say fans had hoped for more collaboration, from bigger names like Wakadinali or Khaligraph,who have shown love for the duo in the past. But the decision making cannot be faulted, because the songs with collaborations worked so well. The beat selection was exemplary. The production was meticulously done as well, from the mixing and mastering as well as the effects. The project is simple and punchy, something that works well for this duo. It is the culmination of two years of consistency from the bonafide leaders of the Nairobi drill scene. As expected, the project is doing well and resonates with young urban audiences.There is hardly a thread sticking out that can be pulled from the tapestry that is this project
