The music is fashioned so as to provide the most base, immediate gratification, and succeeds in this aim. The utter lack of subtlety effectively mirrors the cheap vulgarity of the lyrics, while the undeviating, polished production imparts a certain gaudiness. Consistently predictable bass drops, laughably trite melodies, flagrant rave-techno clichР“В©s, and cloying choruses are all employed unabashedly throughout Ten$ion. If Die Antwoord are lampooning mainstream rap, they must be targeting not only the lyrics, but the sound. As with punk precursors the New York Dolls, the absurdity of the performance aesthetic is part of the appeal. Instead of attempting to demonstrate their РІР‚Сљrealness,РІР‚Сњ Die Antwoord emphasize their strangeness: a self-proclaimed ninja in Pink Floyd shorts, a squeaking, shrieking РІР‚Сљrrrich bitchРІР‚Сњ who borders between creepy and sexy, a DJ who makes РІР‚Сљnext level beatsРІР‚Сњ on his РІР‚СљPC computer,РІР‚Сњ and a member whose only contribution is the showcasing of his rare, congenital abnormality. One might take such mockery not merely as comic fare, but as a rejection of the accepted prerequisites for hip hop credibility. On $O$, Die Antwoord mocked the themes of struggle that are ubiquitous in rap music. Intuitively, the merit of music should depend solely on the musicРІР‚в„ўs quality. Musicians interested in exploring the genre have typically needed to fabricate accounts of troubled upbringings, in order to gain acceptance. Historically, hip hop has been inextricably linked with notions of life struggle and street cred. What sets songs such as РІР‚СљI Fink U FreekyРІР‚Сњ apart from other mainstream, dancefloor bangers is that this group actually seems РІР‚Сљfreeky.РІР‚Сњ Die Antwoord, worlds away from your typical rap group, owe much of their positive reception in the indie sphere to the satirical nature of their music. DJ Hi TekРІР‚в„ўs РІР‚Сљnext levelРІР‚Сњ beat and Yo-LandiРІР‚в„ўs club-ready chorus impart enough pop punch to fashion a compelling dance track from this unconventional structure. A radical midsection finds Ninja adeptly keeping pace with an increasing tempo. Next comes standout track РІР‚СљI Fink U Freeky,РІР‚Сњ propelled by a kick drum stomp, and a synth riff seemingly culled from the soundtrack of a РІР‚В90s aerobics workout. A second bass drop, accompanying the exclamation РІР‚СљNinjaaa!!!РІР‚Сњ recaptures and surpasses the exhilarating hilarity of debut single РІР‚СљEnter the Ninja.РІР‚Сњ

The rampant, elastic basslines mirror NinjaРІР‚в„ўs animated, frivolous, erratic rapping. An explosion of massive, chainsaw, mid-range wobble occasions a decidedly apt backdrop. The conveyor, however, is dubstep - well, brostep. His lone vocal portends the triumphant entrance of heavy guitars and crashing drums. Ninja declares РІР‚СљIРІР‚в„ўm indestructibleРІР‚Сњ with an intonation and meter fit for the first line of an epic arena-rock chorus. Cinematic strings draw ears in, whereupon a South African chant heralds listenersРІР‚в„ў return to the Zef Side. On their sophomore effort Ten$ion, Die Antwoord thrust forward with an unprecedented heaviness.

Die antwoord enter the ninja acapella