My Mama didn’t raise no bitch. So when Truploguz emailed me saying that, “I have some greasy sounds for you if you are brave enough to listen,” I just had to listen to it. And God damn this album is not for the faint of heart, and I mean that in the best possible way.
Like Henry Rollins said in a standup routine–back when he was doing that for some reason–that as a young man he wanted to break shit and fuck, and now as an older man he still wants to break shit and fuck. It’s that kind of testosterone pumping through your veins attitude that seeps through every single track in Namjerno Underground. It’s so violent, the drums so distorted, the sampled voices scream “Fuck,” and the synths sound like they’re either broken or are so razor sharp that they’d puncture your eardrum.
The first track is the best possible introduction to the rest of the album. It’s such a great intro that it’s like how in Dark Souls everybody praises how well the game teaches you to survive in it’s opening tutorial level. This song gives you the keys to understanding the album. DRINKING ACID is the track that shows Truploguz’s ability to craft his beats: The vocal samples are just some guy swearing, the trap hi hats are better than most trap beats, the weird samples that sound like a dog yelping create such a creepy atmosphere, and then the whole track gets taken over by this fast heavy distorted drums that completely decimates everything around it. Then he ends it with some pop sample that’s so reverbed out that it becomes distorted.
That first track is so key to the aesthetic of the whole album. That one, the beats are going to be expertly made. Every single drum beat humanely imaginable is used, with how layered and complex each separate beat is, it creates almost an orchestra of electronic drum beats. Two each sample is a giant FUCK YOU. What I mean by that is each sample either heightens the violence of the track, or it just says “fuck you” let’s play some weird pop music. Which is so refreshing to hear a musician just be rebellious. Not the Bozo the clown act of getting face tattoos, dying your hair weird colors, and sucking at life. But the commitment to set up expectations, and turn on a dime. No song better illustrates this than JUST STOP IT (LET GO YOUR EGO) that has an almost child like glee with the synths plucking this happy song, and then the drum beat sounds so distorted and the rest of the track just buzzes with distortion to the point where it sounds like it’s broken. Then you hear random hip hop samples from an actual song, thrown in there, it doesn’t really fit at all, but given the context of the rest of the album–it’s thrown in there because why not? Fuck you.
Breakcore is and of itself is a pretty abrasive genre. But while most tend to represent a glitchy mishmash of music like a CD that’s broken. Each track on namjerno underground feels like a confrontation. Like how the British were blown away by the Sex Pistols first television appearance–that a group of artists were on TV not to be adored, looking tough, or trying to get the ladies–but were on TV to say “Fuck you.” It was mind blowing. Whereas the Sex Pistols represented working class rage, this is the type of rage that only a meth addict or crack addict would have. Take FOCUS ON THE DANCEFLOOR it’s so frenzied, fast, and vicious that if this were played at a club–people wouldn’t dance to it–they’d burn the whole club down and then have a mosh pit on its ashes.
This album gives Breakcore so much balls, and rebelliousness that I can’t help but love it. Just don’t listen to this album on drugs, or drugs that make you productive, because I’m sober and I wanna break shit after listening to this album. But if you decide to do drugs do the ones that don’t make you productive.
With it’s punk attitude, abrasive sound, and expertly made beats I give this album my full recc.