Nepalese-born, New York City-based self-proclaimed “immigrindcore” band Chepang are back after releasing their magnum opus Swatta two years ago. Swatta was one of the best grindcore albums of 2023 and is arguably one of the best of the decade so far. Swatta is split into four distinct sections, each with a different but brilliantly executed approach: uplifting grindcore, experimental grindcore, wide-ranging collaborations, and AI-generated madness. It is a masterclass in demonstrating the experimental potential of grindcore, and it feels like the album that Chepang was always meant to release. But where do you go after an epic grindcore journey? You return home. Rather than continue pushing genre boundaries, Chepang has elected to take a back-to-basics approach on Jhyappa by recalling the band’s earlier material. But don’t let that fool you — if you’re familiar with the band’s earliest material, Jhyappa is still far from basic.
According to guitarist Kshitiz Moktan, Jhyappa is a “more personal” album revolving around self-transformation and self-preservation through personal struggles. The band describe the concept behind “Gatichad” as “being mindful of your inner voice and the way your body and mind respond to instincts. This self-awareness can shape how you perceive the world and guide you toward understanding who you truly are.” Similarly, “Nirnaya” is “about making the ultimate decision to finally kill all your inner demons and negativity inside you and to come out victorious.” The lyrics also reference spiritual concepts such as “Shakti,” the female principle of divine energy responsible for both creation and destruction in Hinduism, which seems tie into the notions of metaphorical self-immolation and self-transformation quite well. So while the sonic scope of Swatta might be absent, Chepang appears to have intentionally unified Jhyappa’s tracks under a common lyrical theme, which they explore on a level equal to that of the musical explorations on Swatta.
Many (but not all!) of the harsh noise elements, screeching saxophones, and other experimental aspects of Swatta are absent on Jhyappa. Instead, the music is undeniably leaner and more muscular. Tracks such as “Gatichad” and “Ek Hajar Jhut” contain some of Chepang’s most prominent use of low-end frequencies with the galloping, palm-muted chugs from Moktan that are often emphasized by the drumming styles of Gobinda Senchury and Surya Pun. This sharper metallic edge in the band’s writing creates a more visceral listening experience that contrasts with the more transcendental themes on Swatta. But, for an album in which catharsis is a primary theme, that slight change in style seems all the more appropriate. One reason I initially started listening to heavy music is because of how cathartic it is. As an angsty teenager, performing and listening to metal helped channel my hormonally driven aggression into a healthy, cleansing release. To this day, I still often find myself channeling negative energy through heavy music. With Jhyappa, Chepang have recognized that same power in grindcore. But they explore it on a far deeper level through its relationship to self-preservation and self-transformation.