Album Review: Death Grips – The Powers That B

The genre-bending Death Grips have been one of the most exciting and prolific underground acts to blow up in recent years. The reclusive trio of MC Ride (vocals), Zach Hill (drums) and Andy Morin (production) have become increasingly tough to follow with their a propensity to err on the side of unpredictable: no showing gigs, releasing an album behind the back of their label, cancelling tours, and communicating primarily via hidden messages. The natural intrigue that has followed such unpredictability has set a high bar for the entertainment expected by fans and critics alike. ‘The Powers That B’ is the amalgamation of all that is Death Grips: an eclectic combination of all their releases so far whilst evolving in weird and wonderful ways.

Although technically part of one collective piece of art the two sides to the album, ‘N*ggas on the Moon’ and ‘Jenny Death’, are about as disjoint as they could possibly be.

‘N*ggas on the Moon’ is perhaps the most experimental and cryptic release by the band to date. Each track is awash with drum loops and samples – the most surprising being the heavy sampling of Icelandic singer-songwriter Björk on every song acting as a key element to the feel of the album. Björk’s squeals and vocals are distorted into an almost unrecognisable cacophony of trippy loops over a backdrop of aggressive electronics – ‘Have A Sad Cum’, ‘Say Hey Kid’ and album closer ‘Big Dipper’ use these samples and drum loops to disorientating effect.

Björk’s squeals and vocals are distorted into an almost unrecognisable cacophony of trippy loops over a backdrop of aggressive electronics

‘N*ggas on the Moon’ flows almost as one 30-minute long track in a seemingly intentional manic and choppy manner. A more toned down and solemn sounding Stefan speaks in abstract non-sequiturs whilst still confronting the usual issues of paranoia, depression, and sexuality. The usual aggression one has come to expect with a Death Grips album is not present in large portions, which may disappoint some fans, but in its place is an equally intriguing, if somewhat chaotic, piece. This chaos can be a little overwhelming; there is a lot going on and at times you can become lost in the mire of samples and experimentation.

This psychedelic trip into the mind of Death Grips begins with ‘Up My Sleeves’, a cluttered introspective saunter through a chaotic mind that is struggling to find meaning or reason in life. “I’ll take my life like I kept it/ Up my sleeves never sounds like you meant it/ Up my sleeves/ I’ll take my life any way I can fetish”; the trick MC Ride is in fact keeping up his sleeves is the power over his own life – be that in life or death. Effortlessly, we slide into the progressively more upbeat tempo of ‘Billy Not Really’, where MC Ride discusses the status of leadership he has had thrust upon him by his cult-like fans: as he puts it, “Oh, why me why me, oh I mean oh why me/ Don’t see why I need all these hands can’t stand by these”.

This chaos can be a little overwhelming; there is a lot going on and at times you can become lost in the mire of samples and experimentation.

‘Black Quarterback’ explores the relationship between the police and black civilians via a story of a man being pulled over for “speeding” by a “Xeroxed man dressed in gauze spider silk and menopause”. As ‘Black Quarterback’ ends, we move into the more sordid part of the album, where ‘Have A Sad Cum’ and ‘Fuck Me Out’ explore sexuality – particularly its emotionless nature, as best shown by the nonchalantly yelled “Just don’t touch me/ Just fuck-fuck me”.

‘N*ggas on the Moon’ closer ‘Big Dipper’ has the perfect blend of the cryptic lyrics and bewildering production throughout. Perhaps the most laid back and non-threatening MC Ride has ever sounded, he produces a chorus seemingly describing how he is perceived by others: “I’m a shitty stripper…/ I’m a bent bewildered/ I’m a fucking downer”, humorously referencing his tendency to perform topless. The strangest, and most interesting, part of the song is the final three minutes, in which there is a barrage of the disorientating chopped-up Björk samples that have made an appearance throughout the album.

As the choppy and distorted squeals of Björk from ‘Big Dipper’ fade out, they are replaced by maniacal drumming and the primal roars as the second side, ‘Jenny Death’, kicks off with ‘I Break Mirrors With My Face In The United States’. The intensity doesn’t die down as we move into ‘Inanimate Sensation’, which builds to a raucous crescendo which culminates in MC Ride bellowing “I like my iPod more than fuckin’!”.

Much of the ferocity on ‘Jenny Death’ has to be put down to the electrifying drumming of Zach Hill. It’s not technical and it’s not pretty, but you can feel the raw energy exuding from every minute; it is the perfect accompaniment to MC Ride’s barked vocals. No track demonstrates this better than ‘Turned Off’, where the droning guitar of Nick Reinhart (of Tera Melos fame) slowly builds into a dizzying frenzy of animalistic drumming and the gritty bars.

It’s not technical and it’s not pretty, but you can feel the raw energy exuding from every minute

The guitar of Nick Reinhart is an important presence throughout ‘Jenny Death’, contributing to an almost anthemic ballad feel in the latter half of the album. The final trio of ‘Beyond Alive’, ‘Centuries of Damn’ and ‘On GP’ all feature heavy distorted guitar riffs weaving intricately between pulsating electronics and intense drumming. All of this adds to the intimacy of ‘Jenny Death’, stripping back some of the mystery of the lyrics MC Ride talks rather frankly about depression, sexuality and society.

‘On GP’ is the most personal song Death Grips have ever released, from the eerie desperate tone in MC Ride’s voice throughout to the explicit discussion of his own battle with depression and thoughts of suicide. “Last night, 3:30 in the morning, Death on my front porch/… hands me his weapon/ He slurs ‘Use at your discretion, it’s been a pleasure, Stefan’”: it is fitting that this is the only mention of MC Ride’s real name in any Death Grips song to date.

‘Jenny Death’ feels far closer to home for a Death Grips release; it’s an explosive and visceral return to the Death Grips of old. ‘The Powers That B’ is a confusing yet enthralling piece of art; the two sides, while stylistically incredibly distinct, seemingly paint two sides of the same coin.