when the world comes knocking - a death grips essay
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an essay aboot death grips no love deep webTRANSCRIPT
“When the World Comes Knocking” or
how Death Grips unapologetically changed popular conceptions of art, artists and hip hop by perry cowdery
Its August the 2nd, 2013. On a beautiful late summer evening, hundreds of faded
teenage suburbanites congest Chicago Union Station, collapsing on each other on their
way home from Lollapalooza. They transform what would otherwise be a normal form of
transit into a display of excess, selfies, and blissful naivete. Back in the city, those
Chicagoans still somewhat conscious enough from the day gather at an afterparty at the
Bottom Lounge, hosted by one of the festival's featured artists, an experimental hip hop
group from Sacramento, California called Death Grips. Their fans, admirably loyal and
inspired by the intensity of their music, waited and waited for their arrival. And then they
waited some more, and while they waited they were subjected and probably confused
by a large awkward projection of what was apparently someone's gmail. An odd email
was being shown, it read..
“I am ready to take my own life. Many bad experiences led me to this dark void that I am locked in. Maybe by my own hands? I don't really care anymore. I just wanted to say thank you for showing me the other side. the side that is locked away deep inside a person. I am mad. Mad all the time and depressed all the time. I can't take it. I'm not afraid of dying but i am afraid that I can't hear DG in the after life if there is such a thing. I don't know, but I hope your music transcends to the unknown. A place where DG's essence exists. A place where art exists. I love art. That's the one thing that kept me alive? this long. So just to ease minds, DG didn't "influence" me to do this. this is my own fucking choice. but thanks for making my life a little better. you're my absolute fave and I will fight the gods if they don't allow me to follow DG's efforts can't see Earth. Anyways, continue doing great things. I love you Stefan, Zach, and Andy.
I will be watching.
-AJJ “
After three hours fans were convinced the band was not coming. Also seemingly
inspired by the intensity of the music (the studio recordings of which had been blasted
this entire time) they proceeded to tear apart the
stage. The projector screen was torn down, and
drummer Zach Hill’s set was destroyed (this was
later revealed to be a beginner drum set for
children). The next day the band did not perform
at Lollapalooza, a spokesperson saying that they
“chose not to arrive in Chicago”. Management
stated the Bottom Lounge DJ mix the audience
heard “was the show”. This sort of move already
was and would come to be even more
characteristic of Death Grips, challenging expectations of professionality (and indeed
general expectations themselves) to ever larger degrees. And yet, you ask any loyal
and true Death Grips fan how they feel about the cancellations and they will smile and
shrug. I’ve actually been subjected to one, I was supposed to see them at Pitchfork this
past summer, but earlier last july the infamous “break up letter” arose, cancelling all
future shows. Present day, we now know even this not to be true, as they have another
tour planned for this summer. And once again I’m tilting my head and smiling, as MC
ride echoes in my brain..
“you're fit ta learn the proper meaning of a beat down madness chaos in the brain
let my blood flow make my blood flow through you mane you got no business questioning a thang”
the “band” A better term would be group I suppose. Group of what however? I suppose it’s
easy to say they are all musicians. In fact, all three members are visual artists as well,
but over the course of this essay I will attempt to prove both how they are so much
more, and how through their exhibited personalities (or lack thereof) they display their
message with the utmost honesty and integrity.
What we do know concretely is that the band was formed in Sacramento,
California around 2010 by two neighbors, Stefan Burnett (vocals) and Zach Hill (drums),
who was already somewhat well known for his complex drumming in math rock bands
like Hella and Wavves. Hill introduced Burnett to keyboardist and producer Andy Morin,
and upon their first meeting they recorded “Full Moon (Death Classic)” as well as an
accompanying video and EP, “on the night of Winter Solstice in December that
coincided with a full moon. It was the first time since 1638 that the Solstice and a lunar
eclipse had occurred simultaneously.” They began getting more and more shows and
recognition after the online release of Exmilitary (2011). Eventually they were picked up
by Epic Records, a music division of Sony, upon which they released The Money Store
(2012). The album received generally good reviews, and marked a definite departure
and fully fleshed out sound than the mixtape.
The plans were for another Epic 2012 release after a fair amount of summer
touring, but the band cancelled the tour in order to work on what they planned being an
Autumnal release of their next album NO LOVE DEEP WEB. Moments after this
announcement, a post was made on the music section of 4chan with a picture of MC
Ride from the Pitchfork announcement, and a link to a TOR network only accessible
from the deep web. Users, thinking it could be anything from a miscellaneous child porn
post to god knows what else is on the deep web nonetheless explored and found it to
be an complex alternate reality game. Using various aspects of coding, cipher and
social media, the game ultimately revealed the release date of NO LOVE DEEP WEB
as October 23rd, 2012.
Despite such a innovative and extensively artistic style of promotion, Epic had
decided that the album should be released sometime the following year. Not wanting to
conflict with the promotion and intended release of the album, the band leaked the
album internally via twitter and soundcloud. They had lost the trust of Epic (they had
done this before by leaking two singles Blackjack and Get Got, prior to the release of
The Money Store) and were subsequently dropped from the label. Prior to NO LOVE’s
release, Zach Hill stated in an interview.
“With or without Epic, this would be going on,”..“I guess we’ll see how our integration goes over the course of this year, but we’re really excited about the expansion of our
music into wider audiences.”
This leads me to believe that it was not a completely random act, and at least
somewhat premeditated. And it’s not without its own meaning as well. In this day and
age, where record labels (especially larger subsidiaries like Epic) are striving to hold on
to the steadfasts of strong contractual business ethics in a postmusic industry world, it
makes a strong statement to simply deny these practices. Another thing to keep in mind
is the tour cancellation prior to release. Pissing off both your label and your fans? In any
other situation this would be a recipe for the dissolution or at least wide disrespect of a
band. Certainly, the careers of these artists challenge not only our musical perspectives,
but the expectations involving what the artists owe us as hungry music consumers. The
answer seems to lie in what is shown on the cover of NO LOVE DEEP WEB. Dick.
NO LOVE DEEP WEB
I have chosen to analyze this album in particular because it seems to scream this
in every one of its facets. The promotion, music, and subsequent chaotic industry
defying release all seem to correlate in a message that elevated Death Grips from an
experimental hip hop group to bonafide performance artists with something to say about
this whole music system many of us find ourselves in. Every musician at whatever level
should take from their conviction to make their own moves, always with the utmost
confidence and respect for their art. Granted, they propose an interesting problem,
because aesthetically a lot of people like this music. But as I will discuss more in depthly
later, Death Grips’ story will be one that inspires an age of appreciation for art that
travels outside of preconceptions, be it musical or expectational.
Analysis of the album and the song No Love in particular will also provide a
unique opportunity to assess each members contribution to the project, all three parts
somewhat transparent as far as who is doing what. This stripped down sound greatly
contributes to the rawness of the album, it feels very live.
Zach Hill
Reportedly all the drums on this were played live by Hill on an electronic drum set, and
the whole thing was recorded at his apartment. This album in particular exemplifies
Hill’s ability to combine seemingly standard hip hop beat theory with his characteristic
complex polyrhythms. And he plays with this relationship and consequently our
expectations. Like No Love for instance. After some intense odd time tom hits, a simple
boombap style beat kicks in around 0:26. This carries on until about 1:18, when the
intensity drops back down and the style of the beat changes drastically, Hill now playing
a rhythmically complex driving clave snare pattern. As soon as 1:31, Hill changes the
style yet again, suddenly we are in a laidback feel, almost halftime of where he was
seconds ago, as if to set up a transition back to the boombap beat on the chorus ~2:11.
It’s these kind of artistic interjections that make his style both supportive and interesting.
Stefan Burnett (MC Ride)
If you think about characteristic voices rappers exhibit, what comes to mind? The
trickster, the lady’s man, the gangster, these are all stories and perspectives you might
expect a rapper to engage in on same point on their album. There are patterns in
subject matter in hip hop proven to work, the song about the girl, the song about the
homies, beef songs etc. As I found myself thinking about all these common
characteristics, I couldn’t help but also think how little MC Ride engages in these. His
persona is that of some kind of evil monk, speaking brutal truths, riddles and stream of
consciousness. When he does engage it seems to be as a way to play with
expectations in the same sort of way Hill’s beats do. In the very same point in No Love,
1:18 where the intensity drops down, Burnett’s lyrical content opens up, changes to be
less characteristically “hip hop” and becomes extremely more descriptive than the
previous repeated chorus section (“Your fit to learn the proper meaning of a beatdown”).
After a quick codeine reference, Burnett discusses his disdain for someone he now
regrets knowing (a record executive perhaps?)..
“Exhale your will and forget I ever knew you Fuck do you do
Fuck a man wit hips for hulu”
The reference to Hulu makes me think this is a shot at corporatism. Considering
some of the deep water Death Grips was in with their label even before NO LOVE
leaked, it’s not to much of a stretch to assume this was an expression of Burnett’s
dissatisfaction with the control of his art even on the most outlying layers. It would not
be the first time or the last that he has taken shots at challenging the status quo or
popular culture (“Gaga can’t handle this shit...Makes me wanna break into the Apple
Store”) using a knowledge of hip hop conventions in a playful manner. Another prime
example of this comes from the first album which sounds a little bit more like what you
could categorically call it a hip hop album. In the bluesy Spread Eagle Cross the Block
he makes references to drug use, a typical hip hop convention, but not how he’s going
to smoke a blunt with his homies, but he’s going to “Fuck buying it im taking it, and
sharing it with nobody.” This convention is used again on the NO LOVE track Lil Boy as
well (“Burn through it, burn through it, i’m not takin turns to it, turns to it”).
Andy Morin
Whether he is creating a textural soundscape, playing an involved keyboard
pattern, or sampling Charles Manson, Morin’s contribution to Death Grips is an
important yet seemingly understated one. He shies away from interviews and the
spotlight like the plague, and yet his production is the factor that unifies the entire
sound. He strikes an important balance between lofiness and intricate, very thoroughly
produced instrumentals. Most of his beats or instrument parts on NO LOVE sound like
their exploding with clipping. This is both an acknowledgement of the older rawer beats
(I’m thinking like 99 Problems era JayZ) and a rebellion against the pristine, arguably
overproduced aesthetic of commercial rap nowadays.
As the other two do as well, he rides the line between hip hop and EDM like a
loose tightrope, switching back and forth between piercing arpeggiated synth sounds
and bass tones as Hill switches musical feels sporadically. Morin catches all of these
subtleties in both Hill and Burnett’s contributions, never letting his production exist only
as a spacebar phenomenon. It’s interactive, like for instance the awkward breaks in MC
Ride’s verse on Spread Eagle Cross the Block. Instead of just letting the beat play out
over these extensions and cut off’s of the phrases, Morin’s intense guitar samples follow
these unexpected moments with both rhythmic complexity and support. If you want a
lesson in creative sampling, listen no further than Exmilitary. Featuring everything from
David Bowie to songs built around Pink Floyd samples, Morin’s sampling lets the band
where its influences on its sleeve. Exmilitary and parts of The Money Store are also
studies all their own of reappropriating important cultural phenomenon (use of The
Beatles and Charles Manson being this) to make an impact. We can hear the parts that
we know from Astronomy Domine (Pink Floyd) and The Supermen (David Bowie), such
blatant and popularly known samples make us reevaluate what is indeed possible. NO
LOVE and to a certain extent The Money Store mark a departure from Morin’s intricate
and well known samples to the generation of more original (at least in instruments if not
the origin of samples) sounds. This would be an important step as the band’s sound
changes and increases in complexity with the later releases of Government Plates and
The powers that b.
Breaking the Mold
we are now at our best and so Death Grips is
over. we have officially stopped. all currently
scheduled live dates are canceled. our
upcoming double album "the powers that b"
will still be delivered worldwide later this year
via Harvest/Third Worlds Records. Death
Grips was and always has been a conceptual
art exhibition anchored by sound and vision.
above and beyond a "band". to our truest
fans, please stay legend.
Death Grips (July 2nd, 2014)
This is the legendary suicide note from the “band”. When I read this, I was
disappointed (of course now it seems like this was a hoax!), but realized that what I had
suspected all along was true. That their music was only a conduit to convey a much
larger message. I believe this message to be that the artist and only the artist should
have complete control over every facet of their work. This to Death Grips, means in its
most purest and rawest sense that they owe nothing to anyones expectations. When
you talk about the band, this sentence seems obvious, however it’s important to realize
that what this may mean to them are things like “no we are not going to do this tour”, “no
we are not releasing our album next year, we are going to leak it online for free”, “we
are breaking up but here's this album of instrumentals, etc.” This attitude of complete
artistic empowerment is one that I believe to be wholly new (at least in this day and age)
and one that will be a model for how art is produced and appreciated for years to come.
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