Santi’s K.O.T.B: The Bomberman Chronicles Album Review

Santi’s new album, K.O.T.B: The Bomberman Chronicles, returns to the playful, adventurous style of his earlier work and features several artists from the underground scene. The album follows his 2019 debut, Mandy & the Jungle.

From debut to the underground#

Mandy & the Jungle was a major moment for the alté movement. It drew praise from mainstream pop peers, some of whom drew on its art as a source of influence.

Since then, a new wave of pop stars has emerged. These artists blend abstract soundscapes with mainstream hits and present in visual styles similar to those that made alté popular with general audiences. The movement’s cultural profile has declined since, but Santi has stayed close to the underground scene and has helped introduce some of its breakout acts.

Subaru Boys and the new direction#

The review describes Subaru Boys as one of the most divisive albums of the decade. Its underwater-themed ambitions and late-night party material put avant-garde presentation ahead of accessibility, which the review says alienated many listeners.

The new album keeps the hyper-pop beats, animated guitar riffs and chaotic drum rolls of its predecessor, but the review finds a clearer through line in its storytelling.

Track-by-track highlights#

• Opening sequence: The first four tracks revisit themes of rebellion and hedonistic living from Subaru Boys. The review finds them less contrived, using bombing as a modern metaphor for overturning the status quo.
• International Collector: Follows the opening sequence with themes of wealth and spending across the globe.
• Stubborn: The review calls it more soulful, with drums similar to the opening tracks. Santi acknowledges that his time has passed but says he will keep evolving despite alté’s declining relevance.
• Gypsy Gowns: Combines 80s synth-pop with large violin chords, giving the album a cinematic feel.
• Nutty Duchy and Game of Death: Wavy melodic rap over dancehall-leaning beats. Game of Death takes a more ominous, self-deprecating view of sexual pleasure.
• Oz: Features Jeriq, whom the review describes as one of the most exciting hip hop acts from Santi’s home country, on a drill beat. The review says rhythm and flow matter more than narrative on the track.
• Rolen: Xylophone ticks sit beneath synth-pop keys. The review praises its quiet, intimate atmosphere but says the vocal performances and lyrics do not convey the intended emotion.
• Big Drop: Featuring Zaylevelten. The review calls it a successor to FINAL CHAMPION, with similar pop aims but more measured flows that give it stronger execution.
• Orcad Trust and Kentro: Orcad Trust layers an electro-funky instrumental over a trap beat. Kentro draws on nostalgic, retro arcade game instrumentals.
• Siesta: Mavo contributes a catchy chorus. The review says Santi’s verse is underwhelming and one-note.
• Benin Bounce: A psychedelic bounce with a dreamlike feel.
• Heaven Is In Pain: Santi and Indi trade verses, with the contrast in their vocal textures giving the closing track its appeal.

Overall assessment#

The review says the album, like Santi’s previous work, emphasises ambience, sound design and production over narrative, which it describes as repetitive and one-note. It calls the project less immersive than it is ambitious, but a notable improvement on Subaru Boys.

Ratings#