It's for that reason that the prospect of Mount Ninji and Da Nice Time Kid, the trio's fourth album was so exciting. In spite of this, the trio's garish rap-rave had begun to wear thin on the aforementioned critics, the danger of their early material lost beneath more and more elaborate shock tactics. It's this undercurrent of irony that first gave the band their enigmatic appeal, and while aspersions were cast by the music press as to the legitimacy of Die Antwoord with each subsequent release, each release also saw their ever-growing legion of fans swell. Three albums and a Hollywood movie later however, it's hard to get behind the idea of them as a real reflection of the South African working class, especially given their propensity for rapping about wealth and material gain, however tongue in cheek that may be. There was also something exotic, something dangerous about them Ninja, manic-eyed and well-endowed, Yo-Landi Visser nmyph-like and somewhat demonic, both providing the lyrics while DJ Hi Tek layered intentionally dated house beats behind their torrents of explicit posturing. ![]() Embodying the Zef culture (think South African chav, or white trash) of their home-town, the trio possessed an underdog quality, an us-against-the-world mentality that was both endearing and admirable.
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