The release of the “Victims of Madness” album by Wakadinali reigns supreme. It leaves an unprecedented mark that even titans like Kalamashaka, Wenyeji, K South, and Kleptomaniax would nod in acknowledgment.

The Victims of Madness album by Wakadinali’s cover art captivates the chaos within.

In the fierce battleground of rap supremacy, Wakadinali eclipses all rivals with their chart-topping record sales and longevity that outshines every other crew in the game.

The detailed work ethic and the ‘separation of powers’ showcased in their tracks unveil the distinct roles each member plays. This dynamic springs to life in their Victims of Madness album, where Domani Munga spearheads the delivery of street knowledge hooks with fidelity. Each member’s contribution is a crucial brushstroke in the vivid painting of Wakadinali’s artistic prowess.

Victims of Madness album by Wakadinali Background

Wakadinali exploded onto the scene with their debut mixtape, “Ndani Ya Cockpit 1,” back in 2017. Despite a modest 5/10 rating, the raw energy within hinted at a crew still fine-tuning their musical identities.

The early echoes of an identity crisis resonate through the tracks, with Sewersydaa seemingly reluctant to entirely shed the scales of Kitu Sewer (one half of the duo Mashifta). Notably, Munga shares hook duties and Scar is yet to evolve into the phenom we know today.

For the seasoned devotee of the Wakadinali and Kenyan hip-hop scene, the evolution and dedication that culminated in the creation of “Victims of Madness” in 2020 are truly commendable.

Following in the footsteps of their sophomore mixtape, “Ndani Ya Cockpit 2,” it kicks off with a disclaimer, making it clear that the characters and verbiage within bear no connection to living persons.

This upfront declaration serves as a gateway to a quintessential Wakadinali experience. The album unapologetically laces classic vibes with slurs and boasts about the topics of sex, drugs, politics, and human rights.

Victims of Madness Album Track Listing

The tracks produced by AFRVKA veer away from the traditional Kenyan instrumentals. They showcase an exceptional quality that boldly matches international music standards. 

Morio Azenza

The opener, Morio Azenza’ takes the combination of Scar Mkadinali, Domani Munga, and the sassy Dyana Cods.

Morio Azenza is the one song that thrust Rong Rende into the spotlight. Its video, immortalized in black and white, gives birth to Rong Rende merchandise. Scar Mkadinali rocks a baseball hat and a hoodie proudly bearing the double R logo. Meanwhile, Domani Munga sports a black hoodie adorned with the unmistakable “Ndani Ya Cockpit 2” mixtape cover inscription. 


Scar Mkadinali takes an intriguing hiatus on the thoughtful Chesswoh.” This track serves as a proclamation to fans and haters, announcing the undoubted arrival of Wakadinali in the Kenyan drill music scene.

Sewersydaa drops the line “niliambiwa nicontrol temper ama nitupe iyo ndeng’a/aje na fan alidai me si’ Gangsta ni venye me hutema.”

Munga fortifies the message with “kushindana na si’ ni kujizika.” And on the hook lays bare the plight of the East part of Nairobi with the words, “East maisha ni magumu.”

Triple XL

The “Victims of Madness” album takes a tyrannical twist with Triple XL.” Sewersdydaa’s investigative storytelling takes center stage right from the opening verse.

Choosing a victor in this lyrical showdown becomes a formidable task, especially when Munga throws down lines like, “stage me hupandaga na condom/girls kamisi wanazirusha random/ndawafanya venye alifanya Khal Drogo Khaleesi the Mother of Dragons.”

For those who came of age in the streets of Eastlands Nairobi, Scar strikes a resonant chord with his rap, “fala alikuja na babake duanzi wote walirudi na macrutches.” And just when you think it’s at its peak, Scar stirs the pot some more with, “fala tulimpata offside ngumi mpaka ameze taxin”

This must be the best track of the album. It’s a heavyweight match of lyrical supremacy where Wakadinali flexes their narrative muscles with unconstrained intensity.

Love Song

On the reflectiveLove Song,” Domani Munga continues to do the heavy lifting with the help of Sewersydaa. Contrary to its title, it’s the darkest track you’ll ever get and goes beyond the surface.

Extra Pressure

Scar Mkadinali makes a grand return with the AFRVKA-produced anthem, Extra Pressure,” which effortlessly outshines most tracks from the tape.

This single solidifies Sewersydaa’s reputation as a fiercely political lyricist and showcases his exceptional storytelling that hooks you from the very start.

Domani Munga takes the reins for a catchy hook, setting the stage for a mind-bending second verse that takes listeners on a tour of Nairobi.

To cap it off, Scar fulfills the prophecy laid out in “Triple XL” where he raps “hii ni wa wasupa wamebeba kubeba/this year napita na Rono.”

True to his words, former NRG radio presenter Chebet Rono graces the video as a vixen for Scar’s verse.

In a narrative detour that surpasses the brevity of all the interludes in Notorious B.I.G’s “Ready to Die,” Wakadinali crafts an interlude that transcends mere musical transitions.

Here, a young woman urgently directs her mother’s attention to the reality of police shooting thugs just outside their home.

The imagery unfolds, with them peeping through the gates, to watch the scene amidst the blasts that rend the air.

This public execution, though it might sound like drama to the Kenyan affluent, summarizes the cruel daily life in Eastlando.


The song Dilated is a collaborative showcase of punchlines from the trio. Yet, head-to-head, it can’t beat the heavyweight status of  “Punchline Kibao” by Ibra Da Hustla, Kimya, and Johnny Vigeti.

It manages to serve a purpose in providing the essential slowdown required to usher in the next track.


With a classic drill music beat featuring a violin, Njege/Sanse is our Kenya’s “F*kc the Police.”

Munga vents his frustrations about arbitrary arrests with an impassioned hook “Njege masanse wakwende!/wananifinya kende juu ya kuseti kwangu.”

In a sly twist, he throws shade at the now-faded socialite Vera Sidika taking aim at her ever-changing skin pigmentation. Sewersydaa maintains a calm yet resolute demeanor. He calls for the President’s resignation and paints a stark picture of the corruption-infested society around him.

One can only imagine the lyrical fireworks  Scar would’ve ignited with such a charged theme.

Wapi na Nani

Wapi na Nani is nothing out of the ordinary. But it stands as an anthem for Easlando thugs and Boda Boda roaring through Nairobi streets on motorbikes.

The guest appearance by Sir Bwoy didn’t make a splash, but one can’t deny the compatibility of all verses.

Notably absent, Scar Mkadinali leaves the spotlight to Sewersydaa, who throws a sharp line for his counterpart. He promises, “tutakuwachia Scar kwa face tuanze kukuita Montana.” This song is for the discerning listener who appreciates street-level wordplay.


The infectious anthemNyaranyara,” is the ultimate Covid-19 lockdown banger. It secures its status as the absolute fan favorite. It has the highest Spotify streams within the “Victims of Madness” album after two months.

Sewersydaa takes the podium and swings for the fence, passionately advocating for the legalization of weed. He raps the line “ngwa-East imepeleka vijana wengi Inda it’s high time Kenya ikuwe legal.”

Domani Munga steps into the ring with punchlines like “sikumeet huyo msichana/nilidate hiyo vagina.” He also sends shout-outs to the now defunct Insyder magazine founded by Adam Nyakundi.

Scar returns with a statement, hyping Sewesydaa’s plea with a dash of swagger, declaring, “sanse atokee hii ngwai haizimwi.”

He echoes the ominous warnings Eastland’s police issue to hardened criminals “OCS OCS alisema tupotee na tusiwai rudi mjini.”

In ‘Eastlando,’ such ultimatums often culminate in tragic outcomes, leaving behind a trail of casualties. Mostly this statement ends up with dead bodies and heartbroken parents.

Pima Poa

Pima Poa is a phrase that echoes through the Kenyan mainstream and the black market. While the track’s title stands out as a clever choice, the verses may not resonate with the typical fan. It’s much deeper than rap and you’ll have to go beyond the straightforward exterior.

Kim Jong Un

In all honesty,Kim Jong Un,” bearing the infamous moniker of the North Korean Supreme Leader, emerges as the crown jewel of the “Victims of Madness” album and the entire  Kenyan hip-hop scene.

Domani Munga’s crafting of tighter hooks within this tape than Nyashinski ever did for the Kleptomaniax supports this assertion. Sewersydaa holds his own in “a bed of roses.”

Umoja 2 earns a mention in the track’s hook, elevating the neighborhood to a stature almost parallel to Dandora, solidifying its position as a Hip-hop haven.

Avoid Those People

A star-studded lineup convenes to illuminate the Kenyan hip-hop scene in Avoid Those People.”

Wakadinali gathers Boutross, Breeder LW, Elisha Elai, and Dyana Cods with the legendary Abbas Kubaff as the chief guest.

Each rapper attacks the track in a bid to outshine their counterparts. “Avoid Those People” is a typical Rong Rende track and Wakadinali delivers a strong performance.

Dyana Cods effortlessly overshadows Boutross while Breeder LW’s ability remains enigmatic in Kenyan drill music space.

Elisha Elai faces the daunting task of measuring up to the likes of Swaleh, Zakah, Kah, and Ramsizo all hailing from Dandora.

The marathon proves challenging for Abass, leaving one astonished, considering his legacy as the artist behind hits like  “2050” (featuring Malik and Chiwawa) and “Mo Fire” (featuring CLD and produced by Hiram).


Lockdownregisters as a track with relatively little impact on the overall product.

On the grand scale, the “Victims of Madness” album by Wakadinali finds its place alongside E-sir’s 2002 “Nimefika” album. It stands as a revelation of raw talent and a potent symbol of resilience, firmly establishing Wakadinali as a household name. 

As fame beckons, so does the tide of haters, and this reality finds its echo in the near-immortal words of Arcane League of Legends “Oh the misery, everybody wants to be my enemy!”

Rating: 8 Out of 10


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