- Summary: Released as a free download and set to be disc one for the upcoming double album the experimental hip-hop group, the eight track release features the vocals of Björk.
- Record Label: Third Worlds
- Genre(s): Rap, Underground Rap
- More Details and Credits »
Jun 17, 2014On “Fuck Me Out” and “Billy Not Really,” both these dissections of Ride and the brutal rearrangements of Björk’s vocal and fidgety programming would push the ensemble’s rough, nasty but compelling sound to new levels if they hadn’t already perfected it on The Money Store. Instead, what is achieved on niggas on the moon is something that speaks differently but through the same terms.
Dec 2, 2014This music is rebarbative glitch-puke, circuit-bent footwork with the joy scorched out, every now and then blitzed by what could be described as intelligent gabba. [Sep 2014, p.54]
Positive: 3 out of 3
Mixed: 0 out of 3
Negative: 0 out of 3
Jun 26, 2014On the first half of their new double LP, Death Grips takes Bjork's voice and creates an icy sound that characterizes the album, muchOn the first half of their new double LP, Death Grips takes Bjork's voice and creates an icy sound that characterizes the album, much different from the work they got popularized from (Exmilitary, Money Store). A major difference from this album and the ones that preceded it is MC Ride's vocal delivery. Instead of screaming his way through each and every song, he introduces a lot of variety. This album is probably my favorite of this year, tied with Swans' To Be Kind. It's just a really good album.… Expand
Feb 19, 2015With **** on the Moon', the first half of Death Grips' double album 'The Powers That B', fans of the group will feel more polarised andWith **** on the Moon', the first half of Death Grips' double album 'The Powers That B', fans of the group will feel more polarised and isolated than ever.This record, which features donated samples from Iceland's greatest musical offering, Bjork, is one of the most unorthodox and unconventional pieces of music to be released in this decade.
After the 'Up My Sleeves', which is complete with jittery percussion and equally restless Bjork samples, the intro segues into the danceable introduction of 'Billy Not Really', a track which begins to display MC Ride's vocals even more and features stuttering hi-hats and descends into an outro which sounds more like a recital or chant than anything. Next comes the overbearing 'Black Quarterback' which makes more than ample use of Bjork's vocal samples. The track showcases Ride's passion and aggression and Flatlander's groundbreaking production techniques and helps to cement the group as one of the most intriguing and versatile 'experimental hip hop groups' of all time.
The follow up to this track is 'Say Hey Kid', a track which references Dracula and starts off with a blurry, foggy haze of percussion and synth. This track features a slow and chugging instrumental which later becomes a whirring build-up over which Ride exclaims "Say hey kid, come play dead" in yet another vocal tone. "Have a Sad Cum" is an album highlight, with almost all vocals indecipherable, apart from the 'Have a sad cum, baby!' hook which is used on a number of occasions. The main part of this track, which is a repetitive vocal sample, is unlike anything Death Grips have ever released, let alone any other musical act and sounds like some strange code being communicated. It begins with a disturbing whining vocal sample which creates images of some evil godlike figure standing on a hill with his arms outstretched sideways, summoning his people.
Track 6, **** Me Out', is easily the most disturbing piece of rap music ever made. Beginning with an off-kilter beat, the track descends into a stuttering drop with a petrifying salvo of percussion over which Ride rants in a disturbingly calm manner, uttering words like **** **** me" and "I've got a condom just for you". This is possibly the best track on the record, simply because of the shock value provided by the lyrics and the versatility shown by Ride, who both screams and whispers throughout the course of the track. Death Grips have never covered the topic of sex in such a dark, desperate and unsettling manner. Just before the listener thinks the distressful nature of the track is over, Ride proceeds to rant down the microphone over a repetitive vocal sample, using words like **** boom blam, **** bam bloom, **** boom blam. **** new glam, **** glam new, **** goon gland".
The next track, 'Voila', again features a barrage of percussion, vocal samples and synth, this time sandwiched by chugging and rumbling percussion and basslines and a repeated verse with the word "oh" marking the end of each line. Half one of 'The Powers That B' ends with 'Big Dipper', a track which begins with a ceaseless vocal sample and MC Ride later rattles off a number of labels he has been given, such as a **** stripper" and a **** The second half of 'Big Dipper' showcases Flatlander's highly unorthodox view of production and features a stumbling Bjork vocal sample over a space-age sound effect, which progresses slowly over its 2-minute period.
**** on the Moon' is possibly the most forward-thinking hip-hop album of all time, if it can even be considered hip-hop. The Bjork samples add to the eerie style of Death Grips' production and Ride's performances across the board are more adaptable than ever. This is the most impressive release from the group yet and this will cause fans to be more desperate than ever for the release of the second half, 'Jenny Death'.
Rating: 98/100… Expand
Jul 3, 2014The sound is very similar to the sound they had on Government Plates, but without the lack of lyrics that was a problem on Plates. Like allThe sound is very similar to the sound they had on Government Plates, but without the lack of lyrics that was a problem on Plates. Like all of their work since The Money Store, it takes a few listens to really like, but the tracks are all enjoyable if you like Death Grips.
It's less in your face and aggressive than previous material, but there's still some abrasiveness to it. There are also more songs that talk explicitly about race, which is a departure from their usual stuff about paranoia and violence. The must listen tracks are: Up My Sleeves, Black Quarterback, and Say Hey Kid.… Expand
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