Donker Mag review: A dismal third outing for Die Antwoord

It's been six years since the rap-rave trio Die Antwoord exploded out of South Africa with the release of their phenomenal debut album $O$. Since then, they've gained a reputation for stunning audiences across the globe with music that combines effortless catchiness with a passion for experimentation, and in doing so the group have created a style truly worthy of the word unique. They've flirted with controversy, amassed a loyal cult fanbase and smashed festivals all over the word with a powerful live show, and now Donker Mag, their third album, has finally been released. But was it worth the wait?

Having heard the two pre-released singles, Cookie Thumper and Pitbull Terrier, you'd be forgiven for imagining Donker Mag to exist as some kind of musical holy grail, such was the brilliance of that musical duo. However, it's instantly clear that the rest of the album completely fails to match the quality of its singles. This is most apparent on the first half of the album, which features almost none of the grabby electro hooks which dominated previous efforts, and while the second half picks up the pace, it never quite reaches the same highs. An irritating reliance on short, spoken word tracks also forces the record into a disjointed, forced state, making the piece sound more like a ramshackle collection of beats than a serious album. It's a real shame that there's so much filler, because when Donker Mag is good, it's absolutely incredible (see Cookie Thumper, Pitbull Terrier and Sex). That Die Antwoord made such little effort in songwriting is a huge source of disappointment, because some fantastic yet rare moments suggest that the record could have been a modern classic. Lyrically, Donker Mag sticks to the form of the music: crass, predictable and unpleasant. The lack of imagination in the vast majority of the lyrics is hard to believe, and a ridiculous over-reliance on swearing only numbs the use of the words and makes the group appear childish. Occasional racial slurs are also pointless and slightly embarrassing, while the massive sexualisation of singer Yo-Landi simply furthers the impression that the trio are sexist, racist and promoters of discrimination. Of course, Die Antwoord still sound like nothing else on earth; those scathing beats and angry vocals are still the cutting edge of modern music. But aside from a decline in the strength of the songs, Donker Mag sounds almost identical to the band's two previous albums, a lack of evolution totally out of character with a group so musically dynamic and diverse.

Die Antwoord may claim to possess a sound that is completely their own, but Donker Mag shows that it's no good having a unique style if you can't accomplish the more basic achievement of writing good songs. It's not without its moments, but this record lacks ambition, creativity and innovation, and revolves around an overused style the group have had nailed since their debut album. It's no exaggeration to say that Donker Mag could be the most disappointing album of 2014.

4/10