It has an energy that could get me to bet my savings account on one round of poker. It’s no Disc 1 of The Powers That B, but it’s pretty damn good. Almost no other band lives as dangerously as Death Grips.Year Of The Snitch will be remembered as one of Death Grips’ better records. Almost no other band could have created as consistently diverse and crazed an album as YEAR OF THE SNITCH. At their best, Death Grips are an essential group in contemporary music, shapeshifting, grizzled musical nomads who master an abrasive style just as quickly as they abandon it altogether the following album cycle.
There’s intriguing, atypical tempo pacing on both tracks, but it’s hard to latch onto the instrumentals when contrasted against hook-rich tracks like “Streaky” or “Hahaha.”Īt their worst, Death Grips craft singular, idiosyncratic sound experiments. The muddled and hushed vocal mixing on “Linda’s in Custody” and “Little Richard” don’t leave much of an impact. However, the band’s experimentation occasionally overly stretches into abstraction. The album is not easy to decode or explain away, and absorbing its rending beats and murky subtexts often feels like a physically tangible challenge-thrilling listening by any measure. Sure enough, YEAR OF THE SNITCH executes these methods with some of their most mind-bending and singular results to date. A few features of their brand stand consistent, however: their tunes remain sonically visceral, lyrically nihilistic, and not without a pitch black sense of humor. From a sharp focus on jarring vocal chopping and heavy guitar work on their 2015 album THE POWERS THAT B, to a pivot towards violent, pop hook-centered rhythms on 2016’s BOTTOMLESS PIT, Death Grips are chameleons where experimentation with sound is concerned. That’s why the group’s most recent release, YEAR OF THE SNITCH, feels like such an apt continuation of the group’s perennial ethos of erraticism handcuffed to reinvention. Despite the occasionally gaudy spectacle of their expressions, Death Grips oozes the ever-coveted badge of musical authenticity: their behavior is just as insane as their demented music. The band had a messy public break up with their previous label Epic Records, spawned think pieces concerning the ethics of their no-show appearance at Lollapalooza 2013, and even announced, on a napkin, their disbandment, only to begin releasing music again a few months later. Since the trio’s inception, they have remained consistently unpredictable, often acting in seemingly self-harming fashion.
Favorite Tracks: “Death Grips is Online,” “Black Paint,” “Hahaha,” “Streaky,” “Disappointed”ĭeath Grips have never played it safe.
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