Death Grips Discography Ranking: Your Comprehensive Guide to Stay Noided
Since their first self-titled EP was released over a decade ago, Death Grips has continued to push musical boundaries with their confusing, violence-inducing, and unforgiving works. The three-man group operates unlike any other band I am familiar with; they’re intentionally provocative with fans they seem indifferent to, antagonistic toward labels that attempt to control them, and they simply scoff at the idea of mainstream conventions. The band embodies a modern form of punk unequaled by anyone else, which has prompted many fanatics of the group, including me, to praise their records as gifts from the heavens. All of Death Grips’ albums are an experience, to say the least, and are all worth listening to; however, for those who want to cut right to the chase and hear only the best of vocalist MC Ride’s guttural and penetrating verses over equally tumultuous backtracks, you’ve come to the right place for your comprehensive Death Grips’ album ranking.
7. Government Plates , 2013
Referred to as one of Death Grips’ weaker projects, Government Plates still features its fair share of classics, though consistency is an issue across the entire album. The first half of the record is definitely the highlight, with fairly solid production and performances from MC Ride. I especially like the vocal samples the group uses in the backtrack, which serve as a fantastic yang to Ride, in addition to Ride’s sporadically changing pacing which adds a bounciness to songs. I feel these qualities are best seen on the tracks “Two Heavens” and “Anne Bonny.” Across the entire album, Zach Hill’s drumming performance also stands out as one of his best of any Death Grips project.
As mentioned, consistency is the greatest shortcoming of this album. The overuse of MC Ride vocal snippets, paired with a few beats that are frankly forgettable compared to other Death Grips songs, makes for some bores throughout Government Plates. Though these snippets from Ride do make for some catchy and, for Death Grip’s standards, easy-listening songs when paired with intriguing instrumentals and samples, it also can be the downfall when the latter two are not on par. Despite having several classics, Government Plates is, overall, littered with songs that do not hold their own compared to the group's greater catalog.
6. Year Of The Snitch - 2018
The most recent Death Grips album, Year Of The Snitch, is best characterized by its punk rock influence, with classic Death Grips twists such as vocal effect layerings, sampling of old Death Grips songs, and high blood pressure-inducing beats. “Black Paint,” “Hahaha,” and “Shitshow” are several of my favorites from this LP, with their ripping guitar riffs, pounding drums, and exuberant vocal performances. Humorous hooks throughout the album, including a tasteful introduction from Shrek director Andrew Adamson on “Dilemma,” add some spunky fun to an otherwise daunting record. Similar to Government Plates, both wonderful drums and the layering of MC Ride’s vocal effects make the songs particularly captivating; however, on tracks such as “Lindas In Custody” and “Lil Richard,” an overuse of a drowned-sounding Ride is not for me despite finding the rest of these songs fantastic in all other respects. As a whole, Year Of The Snitch features many amazing cuts that are unlike any other of Death Grips’ work, making it a very solid album. Besides the few songs that feel lackluster, the only reason this project is ranked so low is because the group's other works are better showcases of their talents, crafting a higher level of beautifully organized chaos.
5. The Powers That B - 2014/2015
Following the group's “breakup” in 2014 was the release of their double album The Powers That B. Coming out in two drops separated by about a year, the two halves are not just distinctly different in release time, but also style. The first half, “N***** on the Moon,” features chopped vocal samples from singer/songwriter Björk on every track. Her angelic voice works into the beats creating a pleasant contrast to the mayhem of MC Ride’s rapping. This creates an awesome sound that is quite different to other works by the group –– though there are several instances, such as on “Have a Sad Cum BB” and “Voila,” where Björk’s sample carries the entire song. An abundance of MC Ride spoken word interjections riddle this half of the album, something I can only describe as interesting. This is not a Death Grips trend exclusive to this album, and this practice can help with the pacing of songs by making the madness all the more digestible; but, my god, Ride speaks so very often over these eight songs.
The second part of the project, “Death Jenny,” feels like the rawest form of any Death Grips’ work. The lack of vocal samples puts Ride in the forefront, as he performs with a magnitude of aggression that shows him at his best–– this is most notable on “I Break Mirrors with My Face in the United States” and “Inanimate Sensations.” Songs are lengthier on this half of The Powers That B, though at no point do they feel dragged out, because of well-timed pacing changes of both ride and the backtracking beats and drums. When one can decipher the lyrics on these songs, they will encounter the daunting nihilist and depressive perspective that Ride brings, most notably on the title track, “The Powers That B,” where the lyrics seemingly describe a manic breakdown, “Centuries of Damn” where Ride goes into detail about the meaningless of life and his hatred of nearly every phenomenon, and “On GP,” where an eerie verses narrate the contemplation of suicide. Despite the bitter subject matter on this half of the album, “Death Jenny” is undoubtedly some of the group's best work, with the unequaled energy on every ambitiously-structured song rendering this half of The Powers That B unforgettable.
4. No Love Deep Web - 2012
When Death Grips was told by Epic Records that their release of No Love Deep Web would be delayed, they did what any industry-abiding band would do: leak the album free on their website with a photo of drummer Zach Hill’s genitalia, and the album's title written across as the cover art. Unsurprisingly, Death Grips was dropped from their label, but this behavior aided in establishing an ethos that the group found to be important: the art they release is what matters, not their success in business endeavors or the image they try to maintain.
Akin to the album’s internet reference title, No Love Deep Web is filled with electronic and glitchy production that is more minimal than Death Grips’ other projects. This allows MC Ride to take the reins of the tracks –– something he wastes no time doing with their goosebump-prompting opening track, “Come Up And Get Me.” My favorite Death Grips song and my go-to listen as I hype myself up to take an exam, this song sets the tone for the entire album –– a scary rollercoaster ride of worldly hate and self-loathing. On the track, Ride describes himself being surrounded by what can only be assumed to be a swarm of adversaries and foes who want to hurt our pookie Ride! Realizing he has no way out, Ride comes to the only rational conclusion a person can in this situation: he’s gonna have to kamikaze his way out. And so, with a blood-curdling bellow, which frightened me the first time I heard it, Ride beckons his enemies to come up and get him. In this song’s chorus, and throughout the entire album, MC Ride's emotions are easily translated and transcribed to listeners with an anger and turmoil that our masochist narrator experiences being abundantly clear. “Whammy” and “Lock Your Doors” highlight Ride’s contempt towards the physical world and the people who inhabit it. Ride also continuously begs for an exit from this world, like in track “World of Dogs,” a song dedicated to his self-hatred and his view of suicide as a means of freedom. “No Love” also features Ride emphasizing the chaos in his head by not only accepting, but seemingly begging, to give and feel pain. Though clearly not a healthy mindset, No Love Deep Web feels like the first-person POV of a manic breakdown, from a person who has nothing left to give. It’s terrifying, quick to act, and relentless, all of which makes it one of Death Grips’ best albums.
3. Bottomless Pit - 2016
To me, Bottomless Pit is Death Grips’ most accessible album, and is my go-to recommendation to a person who has never listened to the band before. Though just as avant-garde at its core, this LP’s songs feel the most catchy and, dare I say, pop-inspired of any of Death Grips’ work. With a mixing that is relatively tame (you can understand almost every word MC Ride says on some of these tracks!) and song structures that are much more traditional (they even have hooks!), the catalog of this album is difficult to not enjoy. This is not to say songs on this album don’t have their typical Death Grips hardcore flair: “Bubbles Buried In This Jungle” and “Giving Bad People Good Ideas” are two of the band’s most hard-hitting tracks; though, these songs still feel very manageable because of their relative toned-down construction. Also worth mentioning is the thrashing guitars throughout Bottomless Pit. Of all Death Grips’ projects, their guitar is utilized best on this album, because of how it complements and supports the drums, keys, beat, and vocals. The guitars help fill sonic gaps, making for a smoother transition between segments of songs, like in “Hot Head and Spikes,” which is part of the reason these songs are generally easier to digest. Overall, this is a fantastic album where the band is firing on all cylinders, and it’s a great place to start if you have never listened to a Death Grips album before.
2. The Money Store - 2012
Probably the most recognized of all Death Grips’ work, The Money Store is a wild beast of an album that is beautifully composed, with the entire band fucking ripping. With every track, you feel pulled in by intensely drawn beats and an abundance of well-placed vocal samples. MC Ride’s performances are also consistently outstanding. I love how many songs are structured with verses that mainly consist of sentence fragments which, when delivered by Ride's bombardment style flow (often making lyric comprehension challenging), evoke feelings more than images with the wave of Ride’s rapid, animalistic roars. When lyrics are understandable, they shine with their quick wit and angsty messaging. The album's final track, “Hacker,” has my favorite MC Ride bars, with unforgettable chops about shedding his skin for the homeless to use as a blanket, having the DNA of gothic lemons, teaching bitches how to swim, and being in your area, insinuating you are next!
The Money Store may also be the most rap-inspired project to come out of Death Grips. Tons of deep bass and hi-hat snare drums give many songs an infectious trap vibe. Moreover, the vocal samples on this album are top-notch, such as the distorted cartoonish-sounding intro to “Punk Weight,” my favorite vocal sample ever used by the band, as it builds up the punching track. The album also has possibly the most popular Death Grips song, “I’ve Seen Footage,” which is probably the band’s most catchy and approachable song. It is also where Ride establishes to the world that he has seen footage, and thus stays noided. Listening to The Money Store, I feel like I am in the midst of a high-speed car chase, while sucking down on some warheads extreme lime flavor hard candies (which are super acidic btw), all while getting a brand to the leg. Basically, this thing gets your blood pumping, serotonin flowing, and mind boggling. Easily the best production of all the Death Grips albums.
In this case, meaning he’s seen some scary stuff.
Paranoia that may induce dissociations - a person in this state may be paranoid to the point of violence to both themselves and others.
1. Exmilitary - 2011
My favorite from Death Grips’ catalog is their first full-length album, Exmilitary. Unavailable on streaming services, at least through Death Grips’ page, due to copyright infringements, this album displays the best of MC Ride’s abilities. Though I would have thought this impossible, in every song, Ride brings more energy than me after a mango Monster Energy and Adderall. Unlike on other albums where Ride is not afraid to switch his pace throughout songs, tracks on Exmilitary that start quickly never let up on the gas. Listening to “I Want It I Need It (Death Heated)” and “Takyon (Death Yon)” mentally transports a person to the most loving and violent mosh pit in existence. These fast-paced tracks are relentless, but are still super poppy due to a lack of abrasive production. This is not to insinuate that said production is lackluster –– every song is an intense bop –– but with MC Ride leaving no breathing room during a song’s runtime, there’s less opportunity for the mixing to take the spotlight alone. Still, the only album to have the edge over Exmilitary's production would be The Money Store, though this is by the slimmest of margins to me. The samples that keep Exmilitary off streaming services are part of what makes this album so awesome. Recognizable snippets from the likes of the Beastie Boys, Pink Floyd, and David Bowie, to name a few, make Exmilitary songs stand out even more amongst their Death Grips counterparts, and add some depth to the hostility of most songs. Words cannot do justice to the unique and beautiful nature of this album. Whether you’re trying to prove to your parents that it’s not “just a phase,” make your peers think you’re cool for listening to an album that isn’t on Spotify, looking for some fire-as-fuck, hard-rocking, arson-go-explode-some-shit vibes, or not doing anything at this moment in time: Exmilitary should be the next thing you listen to.
*All albums can be accessed by clicking on their respective album covers.
* Fashion Week - 2014
Released in between the two parts of The Powers That B, Fashion Week seems more like a jab and joke to fiending fans rather than a standalone album, compared to the rest of Death Grips' greater collection. Combine this with MC Ride’s entire vocal absence from the project and it frankly seems unfit to try and rank Fashion Week amongst the band’s other projects. Nonetheless, this album still has many great, heavily experimental, instrumental, and electronic cuts, which still makes it worth a listen.