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Death Grips EP

Exmilitary

  • "Beware", another stellar opening track that sets the mood perfectly with none other than a Charles Manson sample (from his famous "I roll the nickels" speech of sorts) and then an atmospherically chilling trip back into hell.
  • "Lord of the Game", featuring some nice Soprano and Gravel between Ride and Mexican Girl.
  • "Guillotine", one of their most famous songs by far, due to its memetically infectious chorus.
  • "Spread Eagle Cross the Block", the anthem for all skaters. It's based around a sample from Link Wray's "Rumble", no less.
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  • A Black Flag sample that provides the centerpiece to the whole song? Awesome. A sick and unorthodox drum riff to complement it? Sweet. You think that's unlikely? Listen to "Klink".
  • "Culture Shock manages to get away with using heavily distorted robotic drones and turning them into a coherent instrument that fits with the song. And Ride is rapping, not screaming, so the production gets a little more limelight.
  • "5D", a nice little instrumental interlude based around a nice funky loop.
  • "Blood Creepin", a fittingly ruthless finale to a no-holds-barred madhouse of a mixtape/album.

The Money Store

  • So you're pumped to get some more noided Death Grips with their newest effort. You hit play expecting to hear more sampled-up craziness. Then you get hit with the glitchy, electronic right hook that is "Get Got".
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  • You thought that last song was catchy? Wait until you hear "The Fever". There's warbling fire alarms, electronic bleeps and blaps, and sick synths. Hell, they even make the Casio "computer sound" badass.
  • "Hustle Bones". For starters, it has an awesome bass line produced from the Casio "motorcycle" setting, bolstered with actual motorcycles.
  • "I've Seen Footage" is easily their most radio-appropriate song, and even saying that is a huge oversimplification.
  • "Double Helix". Never has Creepy Circus Music sounded so noided.
  • "System Blower" showcases more in the field of electronic madness and hyperactive fuzz.
  • "The Cage" is easily the most production-y song on the album, with heavy emphasis given on its electronic verves.
  • "Punk Weight" serves as a simulator for trying to play Death Grips through a blown-out speaker.
  • "Bitch Please" is, oddly enough, the most sexual song on the album. It has samples of a girl softly moaning heard throughout the song, and the song's beat is strangely provocative.
  • "Hacker". From Ride's first announcement of "Hey, no ins-and-outs!" you know just what you're in for, and you'll get all of it and more.

No Love Deep Web

  • "Come Up and Get Me" and "Lil Boy", combining to make a fitting and establishing first sample of the twisted, brain-meltingly horrific world that this album is rooted within.
  • All of the subtlety of the aforementioned tracks is demolished with "No Love", which seizes you by the brain and thrusts you headfirst into this nightmarish world. It sounds like a song that would accompany an underground fighting ring.
  • "Black Dice", a more electronically rooted song that has particularly shining production even with Ride over it.
  • "Whammy" continues the trend of weird production with an offsetting atmosphere complemented by frantic electronic drums.
  • "Hunger Games". Despite coming after several Nightmare Fuel-inducing tracks, this one might be the scariest despite having an extremely minimalistic sound and beat. Rather, it might be so scary because of this.
  • "Deep Web", with Ride now amping up his extremity levels against heavily jittery instrumentation. Also, him becoming the coat hanger located in your man's vagina.
  • The concluding triad of the peculiarly upbeat "Pop", the energetic yet paranoid "Bass Rattle Stars Out the Sky", and the grand finale of "Artificial Death in the West", providing a final breaking free from this mangled madness.

Government Plates

  • "You Might Think", a very heavy-hitting opening track that starts with the sound of glass breaking, ominous organs, a bloodcurdling scream, and then delves into never-before-seen intensity with special note going to the percussion.
  • "Anne Bonny" has Ride rapping over an innocent sounding synth loop...until the instrumental changes entirely to sound bitcrushed and fuzzy.
  • "Birds", the calmest Grips song yet, with a nice and mellow guitar riff allegedly courtesy of Robert Pattinson.
  • "Big House"; relentlessly fast, and almost like you're hearing a soundtrack accompaniment to gamma ray radiation therapy.
  • The title track is like NLDW's "Black Dice": instrumentally prominent, and pretty damn awesome at that.

The Powers That B, Part 1: Niggas on the Moon

  • "Up My Sleeves", catchy, glitchy as hell, but overall a fantastic opener, especially with Björk's fantastic laugh.
  • "Billy Not Really" is probably the most accessible of their least accessible album, not that it's saying much. The Bjork samples are in full effect and Ride throws out cryptic bars using other languages and references to palm readings and mystics. Treats him like a meteor indeed.
  • "Black Quarterback". EDDIE'S CRAZY!, adding more distortion to an already confusing record.
  • "Have a Sad Cum BB", with its juxtaposition of Bjork's vocals with Ride's processed and clipped vocals, make for a penetrating, disorienting, yet insanely catchy tune.

The Powers That B, Part 2: Jenny Death

Bottomless Pit

  • "Hot Head", the first track revealed, seamlessly blends chilled out electronics with the blasting madness the band is known for.
  • "Giving Bad People Good Ideas" is easily DG's most intense opening track yet and at times sounds a few pegs short of heavy metal. It even has blast beats!
  • "Eh" is by far DG's most accessible song since "I've Seen Footage", but by no means bad.
  • "Trash" fuses loud, bombastic melodies with anti-consumeristic lyrics. "TRASH BEGETS TRASH!"
  • "Three Bedrooms In a Good Neighborhood". Syncopated, catchy beats and twisted, obsessive lyrics? Yes please!
  • "Ring A Bell", featuring some absolutely sick riffs courtesy of Nick Reinhart's guitar.
  • The title track, an unrelenting wall of sound that mirrors a 90s Nine Inch Nails song and sounds more like thrash metal than industrial rap.

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