Death Grips - Year of the Snitch (Third World/Harvest, 2018)

Exmilitary and The Money Store are two A1 albums. Then No Love Deep Web came which was a little more hit and miss, and Government Plates followed which was okay but still more miss than hit. The first disc of The Powers That B, Niggas on the Moon, dropped and it was mostly blah. About that point I checked out for good. It's roughly the same time they went silent and worked on the second disc of TPTB, Jenny Death, for about a year. One day I saw they released a cut from that disc, "Inanimate Sensation", and it rocked my face off. I was back. DxG was back. Jenny Death was released and by far the best thing they'd done since the Exmilitary/Money Store days. Since then they've only gotten more erratic - a couple of instrumental EPs, a one-off with Les Claypool, a 20+ minute "megamix". The next album they released in and amongst those, Bottomless Pit, was fine, not terribly adventurous but not bad. Year of the Snitch falls into that category too and kind of feels like a sister album to Bottomless Pit in some ways. Musically it is quite similar to the "Steroids" megamix, very heavy on the electro and less concerned with hip hop or pop stylings from the past ("Hacker" seems a million years in the past now). There's some good tracks on here, most of them already released as singles - "Streaky", "Shitshow", "Black Paint", "Hahaha". There's a few gibberish tracks on here like "Death Grips is Online", "Little Richard" and "Dilemma". Again kinda like Bottomless Pit which was the same deal. Occasional brilliance, but not consistent on the level they used to deliver. I'll keep staying tuned to what comes next though.

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Eartheater - IRISIRI (Pan, 2018)

Eartheater first came on my radar (and many others) with 2 Hausu Mountain tapes in 2015. She makes glitchy, disorienting music, combining electronics and synthesized percussion with voice, guitars and who knows what else. The whole thing is a confusing stew, kind of reminiscent of Inga Copeland but I would say even more detached from "song". Didn't do much for me.

Kevin Drumm - Jury Prize (Karl Schmidt Verlag, 2018)

Here's a new kd album on Tom Smith's Karl Schmidt Verlag label that's very much the opposite of some of the kd we've heard earlier this year - namely, it's loud as fuck. There's one 53-minute track here, "Schmickedtwice (Jury Prize)" and it sounds as chaotic and unhinged as anything from Drumm, certainly a return to the noisy Sheer Hellish Miasma days but sonically on par with analog Merzbow. Recorded this year though so not an old recording. It sounds like there's vocals buried way deep, somebody screaming through the TV static, maybe even some percussion? This one's a heater.

Albums of the Year 2017 // New Releases

//40 Migos Culture (300 Entertainment) //39 Kyle Dixon & Michael Stein Stranger Things 2: A Netflix Original Series Soundtrack (Lakeshore) //38 Unsane Sterilize (Southern Lord) //37 Hans Zimmer & Benjamin Wallfisch Blade Runner 2049: Original Motion Picture Soundtrack (Epic/ASG) //36 Ricardo Villalobos Empirical House ([a:rpi:r]) //35 Brockhampton Saturation II (Question Everything Inc./Empire) //34 Fire-Toolz Drip Mental (Hausu Mountain) //33 Clams Casino Instrumental Mixtape 4 (no label) //32 Yves Tumor Experiencing the Deposit of Faith (no label) //31 Lil Yachty Teenage Emotions (Virgin/EMI) //30 Thriftworks The Feather and the Sword (no label) //29 Paul White & Danny Brown Accelerator (R&S) //28 Keiji Haino, Jim O'Rourke & Oren Ambarchi This Dazzling, Genuine "Difference" Now Where Shall It Go? (Black Truffle) //27 Nazoranai Beginning to Fal...

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