CAMP BLOOD never ceases to astound for a group that has carved out a place for itself at the nexus of industrial metal, hip-hop, and electronic experimentation.
The pair has released several singles after the CAMP BLOOD EP was made available, including “Trap,” “21 Shots,” and “Cenobite,” as well as “Psalms 23,” a collaboration with Polaris Prize winner Backxwash. They have now released “Black Martyr” (through AWAL), which is possibly their most dramatic and moving song yet.
The music initially stands out due to its 5/4 time signature; even for a group with a reputation for letting its grooves grow quite loose, you can tell this is not a conventional beat. Without getting too far into theory, hearing something that differs from the typical 4/4 patterns of most mainstream music is a good approach to surprise the listener. Additionally, a significant aspect of CAMP BLOOD’s act is defying expectations.
It strikes the ideal mix between Barclay and Dendy’s technical prowess as individual rappers and their razor-sharp eye for societal satire, making it one of the band’s best examples of their lyrical prowess.
The lyrical themes of “Black Martyr” continue the trend of subversion by making direct comments on both the history of racism in American society and how Black people are perceived by the general public. The song vividly depicts an oppressive system created to harm the welfare of African Americans.
About the track, Haasan Barclay said “Black people deserve to be open in their anger towards the system that disenfranchises them,” while Shaka Dendy added that “even more haunting than being publicly lynched, or the fear in witnessing one, is being disappeared. That uncertainty has a lingering impact on those who knew you.”
