Lyrically speaking, Donker Mag is focused just beneath the waist, typified by the Willy Wonka rap of ‘Raging Zef Boner’, or the sticky-palmed dancehall of ‘Girl I Want 2 Eat You’, an ode to cunnilingus featuring the lyric “smells like fish / Tastes like chicken”. You can see how they might share a stage at some godforsaken EDM festival alongside Diplo, Skrillex, David Guetta et al but you can also see why Aphex Twin, who mined a similar vein of ghetto-grotesque in his Windowlicker video, is a fan. Ugly Boy and Pitbull Terrier whizz up rave and trap, dancehall and techno, the cartoonish malevolence of Eminem and the simpering kawaii of J-pop into crass post-everything club fodder with a cumsplash of freaky bad taste.

Working with collaborators such as New York photographer Roger Ballen and South African cinematographer Rob Malpage, their lurid visual identity has the ring of an art project, the group hoovering up South African culture and barfing it back out with added samurai swords, Pink Floyd boxer shorts and playsuits made out of rats.Ī few years on from their breakout, this formula could be going a little stale, but luckily for Die Antwoord, the arrival of their third album Donker Mag – it translates as “dark power” in Afrikaans – feels timely. Yet Die Antwoord appear very much a thing of careful and fastidious construction. This might have mattered more if Die Antwoord were invoking ‘Zef’ – an Afrikaans term meaning, loosely, ‘poor but sexy’ – solely to approximate some sort of working-class authenticity. When Die Antwoord introduced themselves to the world with ‘Enter The Ninja’, an equal parts cloying and intriguing rap track that splattered across the internet in 2010, much of the early press coverage focused on the group’s history: tattooed vocalist-mastermind Ninja was no hungry kid fresh from the ghetto, but the latest incarnation of Watkin Tudor Jones, a white MC in his mid-30s who had toiled in various Cape Town groups since around 1995.

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