Enter: Death Grips

When you’re really good—and I mean upper echelon, few-in-the-world-are-better—at an instrument, after some time you pretty much get a free pass on anything you want to do in music. Lo and behold, that’s exactly what’s happened here. Sometimes, it’s good. This is one of those times.

Death Grips, also known as Zach Hill’s hip-hop project, has released its first record, Exmilitary. Yes, you read that right. Zach Hill has a hip-hop project.

Zach Hill, best known for his work with Hella, and lesser known for his work with Marnie Stern, Goon Moon, Team Sleep and others, is likely one of the world’s best drummers. Anyone who’s heard Hella—moreover, seen them—can attest to this. However, how well does absolute drum mastery translate into crafting powerful hip-hop beats that are not likely to contain a level of complexity that Hill usually exudes?

Actually, Exmilitary sounds a lot like you’d expect Zach Hill’s take on hip-hop to sound. This is not necessarily a bad thing.

The album starts off with a sample you’ve likely heard before—the Charles Manson “money” speech. Soon after this though, the album launches into a torrential downpour of slick, complicated production value and the kind of unpredictability we’ve come to expect from Mr. Hill. Regardless of Hill’s wanton disregard for the norm, there are plenty of unbelievable grooves on Exmilitary to sate even the most discerning hip-hop connoisseurs.

The first track, “Beware,” is as ominous a track title as it is a song. The programming and production value on this record is insane for a hip-hop record. The instrumentation is viscous, a Dimetapp-syrupy thick swirl of filtered effects. The vocals are all double tracked and slightly out of phase, which creates an almost overwhelming sense of fullness.

In fact, perhaps the best part about Exmilitary is that the record constantly pushes the boundary of overwhelming that culminates with the penultimate track “I Want it I Need it (Death Heated),” and slowly brings the listener back down with the last track, “Known for it.” The comedown is quite shocking really; zeal levels reach an apex as Zach Hill seems to point and shout, “See! This is how far you’ve come! This is what I make you do!”

Just like Tyler The Creator’s Goblin, lots of tracks on Exmilitary jump around through multiple ideas on the same track. Whereas Tyler’s tracks seem hindered by the producer’s technical ability or lack thereof, Hill’s tracks are exactly the opposite. The man is obviously nuts behind the mixing board and he’s not afraid to let you know it.

Some tracks, such as “Thru the Walls,” may indeed prove too much for the casual hip-hop listener or the traditionalist. The track begins with lightning quick tropical drums (perhaps provided by Hill himself) and the ubiquitous Brazilian air-horn synthesizer stab. You may not know it, but you’ve heard this sound—it was all over the place in 2006 and still exists today, albeit in much more limited quantities (Google or YouTube Ralvero’s “Samir’s Theme 2011” if you don’t believe me or have no idea what I’m talking about).

The fact is, despite Hill’s outrageous and occasional too-far-out work behind the boards, the album displays a stunning amount of sheer darkness and is surprisingly moody for a Zach Hill project.

Everything about this album is constructed to make you stay on your toes—from the ominous track titles and deep, gut-vibrating drums to elements such as the fantastic album cover. The album is built to unnerve, and it does just that—perfectly.

Of course, Hill isn’t the sole member of Death Grips. The emcees that help bring Hill’s vision to wax are very engaging. Their voices run the gamut from blackened, grimy rasps to shrieks of sheer terror. Especially during the last half of the record, it is not uncommon to hear their gargantuan, booming voices crack just a little, and it is the mark of performers that truly believe in the material. Their interplay is fantastic—imagine if the Beastie Boys were 25 feet tall and really, really angry.
Some of Zach Hill projects are forgettable (I’m looking at you, Goon Moon) while some are phenomenal (Hella, Marnie Stern). Death Grips truly falls under the latter category; Exmilitary is a record that jaded fans of hip-hop and those usually opposed to the style can make peace over.

That said, all we can do is hope that Death Grips is not a one-and-done Hill project, as the man has a notable reputation for getting bored pretty quickly. Add this criminally underrated disc to your collection before Hill decides to start making meringue records.