On the very first Monday of my first year at Colorado College, I had made plans to audition for a student band called Frog. This would be the first band I had ever joined, culminating in an album release and an east coast tour in the summer of 2018. After that, it was Arc Trip, Parents, Public Indecency, Worm Weather, Bongo Saloon, and now Host Body. Each project has been an opportunity to develop my musicianship, exposing me to new musicians, genres, and general life experiences. After COVID-19 destroyed the worldwide music scene, playing with other musicians became a health risk. My relationship with drumming was partially fractured, and as most people can probably relate—I felt more stagnant than ever. Despite this, I continued to practice and explore my ideas outside of a band context; consequently, this evolved into a desire to create music that was representative of my own abilities and interests. Around this same time, I began discussing the possibility of creating a small duo project with Evan Hirshorn. We both wanted to create something representative of our musical abilities; furthermore, we wanted to create something that sounded professionally mixed and mastered. The intention was to create an auditory résumé, which we can share as proof of our abilities when we’re trying to get gigs in the music industry. These objectives laid the foundation for formulating my capstone project, which has flourished into a collection of songs that we are both extremely proud of. Throughout the writing process, we both drew inspiration from various artists to compose our individual parts. This allowed me to digest my written drum parts from an analytical perspective, drawing connections to specific artists, patterns, phrasings, and other ideas. This exploration into broader percussive elements transformed into a concentrated interest in Afrofuturist percussion. I wanted to examine the development of percussion throughout Afrofuturist music, define its characteristics, and determine if anything I had created shared similarities with Afrofuturist percussion. Exploring these sonic elements of Afrofuturist music begged the question—does Afrofuturist art require a visual component? Throughout this paper, I will attempt to answer this question by analyzing the percussive ideas of three Afrofuturist albums, dissecting percussive ideas within my own project, and bringing both into conversation with one another. This will help determine whether or not Afrofuturist percussion can be concretely defined, and if sound alone can communicate Afrofuturist aesthetics.