An outrageous video for the track ‘Shitshow’ was uploaded to YouTube a few days before the album’s release, only to be removed soon after for breaking the platform’s standards. ‘Flies’ counterpoints bellows with deadpan asides, and he leers about murder on ‘The Fear’, whilst remaining furious and incoherent.ĭespite forging a career through shock tactics, the band still manage to disgust with Year Of The Snitch. The spoken word sections on ‘Dilemma’ and ‘The Fear’ ( “I don’t know dude, I just drink blood dude”) are head-scratching, and MC Ride’s vocals are as schizophrenic as ever.
The quality is still consistent, yet those batshit little touches that set Death Grips apart are here in abundance. Thankfully, this is not the case with Year Of The Snitch. ‘Streaky’ may be one of the most danceable tracks in the band’s whole discography, and there are some genuinely catchy moments throughout the album – a bizarre sentence in the context of the band.ĭeath Grips’ previous album, 2016’s Bottomless Pit, showed that the band can be as good as they ever were – if a little less interesting after around six years on the game. There’s also jazz and funk-influenced sounds on Year Of The Snitch, notably on ‘The Fear’ with its tumbling keyboard and Zach Hill’s intricate, over-the-top drumming. ‘Dilemma’ is carried by a guitar riff, as is a large part of ‘Hahaha’ and ‘Shitshow’. A good deal of the samples used on Year Of The Snitch seem to be pulled from rock songs, source material that is a world away from the twisted Björk samples of 2015’s The Powers That B. The traces of structure can be found on a number of tracks, and ‘Death Grips Is Online’ even has a chorus. Whilst the band shows no signs of mellowing, sixth album Year Of The Snitch seems more conventional in nature – if that word can ever be applied to any Death Grips work. That’s right, the man who directed Shrek.
Their social media feeds were littered with teasing images of collaborations with Lucas Abela – who specialises in eating glass – Tool bassist Justin Chancellor, and, in a collaboration that was bound to happen at some point in the wonderful and frightening world of Death Grips, Andrew Adamson. In the year since the release of the bonkers Steroids EP and the announcement of new material, everyone’s favourite Sacramento experimentalist hip-hop three-piece have been busy boys indeed. While the intensity, shock tactics and style fusion is still intact, Death Grips’ sixth album ‘Year Of The Snitch’ veers close to the conventional in some places.ĭeath Grips don’t just release albums – they turn the entire promotional cycle into theatre.
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