Inundated in Wakadinali’s artistry is a profound spunk brought about by lyrics which while seemingly written in a deadpan and monotonous vocal style, oddly enough still candidly paint a clear picture of the daily ordeals of Kenyan street life. Since gaining notoriety the most noticeable aspect of their projects have always been their menacing vibe, off-kilter 808s ( like most drill artists), and the sinister plots of their songs. Their albums, like Victims Of Madness and the three iterations of Ndani ya Cockpit, were also majorly characterized by a sound heavily influenced by Eastlands slang, culture, and environment.
The trio’s solo albums as well, such as EXPOSED (Munga`s Revenge) by Domani Munga and Easy by Scar Mkadinali which were all released as ‘Wakadinali albums’ in a genius bid for commercial glory, retained this blueprint exploration of their Kenyan inner-city lifestyle and culture. The latest of these solo albums, SewerSydaa’s Mauru Unit, is no different. Released officially to streaming platforms in December 2023 as a Wakadinali album rather than a solo project, Mauru Unit boasts an impressive track listing of 24 songs. SewerSydaa delivers this new project with a clear emphasis on lyricism in place of melody, something expected as this is an artist arguably considered one of the best lyricists currently in mainstream Kenyan music.
The album kicks off with the slow-burning intro song Cry Baby, followed by C4 which sees him showcase his usual narrative-heavy, aggressive, yet poetic cadenced sound as he sings over a beat that leaves plenty of room for him to plug into his lyrical prowess. C4 is a song declaring an unwavering egotism and self-belief. Its jargon, chock full of vocabulary that evokes a high self-esteem that SewerSydaa doesn’t intend to compromise, something also revealed in the album’s ninth song Break Point, and the 20th song P.M.M ( Premeditated Murder ). The beats on both Break Point and P.M.M sound more electronic than most other songs in the album, reminiscent of an 808 Melo-kind of beat.
A good lyricist Is a good storyteller
It is known that to be considered a good lyricist, you must be a good storyteller; using your lyrics to tell relatable real life-sounding tales, as is the genre of hip-hop’s traditional emphasis, and avoiding unfounded mumble theatrics which result in un-meaningful lyricism. SewerSydaa has always positioned himself as not just a good narrator but a great one. In the song My Avi, the 6th track, he allegorically narrates various baneful scenarios in the Kenyan setting, while in Ukweli, the eleventh track, he speaks of the tragic story faced by those who choose to take the violent way to prosperity.
In Chief Gwetheist, the 12th track, he gets expository speaking on the delights, predilections, and problems he and those in his environment experience. On Zikishika, he shares the do’s and don’ts of a hedonistic lifestyle. In Mbwenya, the follow-up to the album’s interlude he tells an array of stories that serve as metaphors for the struggles SewerSydaa and those in his hood have witnessed or endured in the past on the path to this point.
Collaborations
In Mauru Unit, SewerSydaa collaborates with an array of artists, most of whom are Wakadinali/ Rong Rende affiliates. In the first of the 14 features in the album, he features Skillo in eponymously titled Eastlands, a ditty narration on social relationships. He also features Skillo in 3 other songs in the album, the 8th track Sema No which sees him tap into the egotism previously seen in C4, in the 18th song Tuko Kwa Streets, which is an ode to the hood aesthetic,, and in song number 21 Tuko Deep. The 21st track is similar to Tuko Kwa Streets in terms of theme, and also features Mnabe, Wakuu Music member Roller and Hasano.
In Seasaw, the 4th track, SewerSydaa features Katapillar and Sudough in a song with some memorable hooks “So bad how we have been up and down / Rocking the Seasaw….Same direction as the wind goes, leading the people..”, and in the follow-up song Ki-Ding he features one half of the Buruklyn Boyz duo Ajay, in a masterful chronicle of that sees them acquire new wisdom as they traverse from West to East. The journey of course finally ends back home in the East side of Nairobi. He later on features the other half of Buruklyn Boyz Mr Right in the song Telescope which also taps the talents of Hr the Messenger.
Kijana Good Job, the 7th track on Mauru Unit sees Domani Munga get into the booth bringing his blueprint levity to the song’s lyrics, and the 10th track Tena Siitaki features veteran artist and former Ukoo Flani affiliate Kitu Sewer, in a first of two collaborations with him, the other one being in the last song of the album Waliniambia which features Roller once again and his Wakuu Music counterpart King as well. Round n Round, the 15th song, sees him feature both Sudough and King again for the second time.
In Yaye, the 19th track, SewerSydaa features Scar Mkadinali who makes the song an attractive listen as he experiments with a multilingual flow rapping in Luo and Sheng. In Cry Baby 2, song number 22, he features the queen of Kenyan gangster rap Dyana Cods who pleasantly surprises by showcasing her vocal ability instead of just the usual fast rapid rapping her fans are used to. In Unatakaaje, the second to last song, he features King for a third narrative-heavy go at the microphone alongside Virusi Mbaya.
Mauru Unit sees SewerSydaa lean further into his immersive well of lyricism, giving mainstream Kenyan hip-hop fans a project that further solidifies his reputation as a sensational artist. The 24-track Mauru Unit is a worthy listen that further reveals a subversive artist with a work ethic just as sharp as his talent.
