Deathbomb Arc

Angry Blackmen ‘Headshots!’

“I’m the minstrel man, cleaning man, pole man, shoeshine man, I’m a n****r man” sang Scatman Crothers on the opening to Ralph Bakshi’s controversial Coonskin. A cult satire on race politics in 1970’s America subverting the rose-tinted nostalgia of Songs of the South, its stark use of ‘darky’ iconography and plethora of ethnic stereotypes still prompt fierce debate as to the merits of its social commentary. Perhaps the films most zealous castigators are pearl-clutching liberals mired in performative politics and self-satisfied moral sanctimony. Beloved by many in the African-American community, (including Spike Lee and Wu-Tang Clan, the group even wanting to produce a sequel) Baskhi quipped “Everybody loves the film except for the white guy in the street, but that’s always been the case”.

A grimacing blackface inked on Caucasian skin burns potently on the cover of Angry Blackmen‘s latest EP Headshots!. An experimental hip-hop duo formed in Chicago by Quentin Branch and Brian Warren, their very name a provocative exercise in confronting White America with its crafted tropes and archetypes deployed to justify its continued supremacy. Fusing the city’s alternative hip-hop heritage of Kanye West and Chance the Rapper with the industrial volatility of noise mutants from Chicago Research, Angry Blackmen continue the caustic and bruising production as heard on last year’s Talkshit! with even greater fiery resolve.

Coonskin, Oppenheimer’s ‘destroyer of world’s’ speech and Spongebob Squarepants is a queasy, atypical choice of samples for any rap group but illustrate the confrontation and stinging irreverence that courses throughout Headshots! After the narrative introduction to the ‘post-apocalyptic, racially divided’ hellscape in EP opener ‘Dreams!’, an expert slice of taut drum machines and razor synths pound urgently against the duo’s rapid-fire lyrical spit of hopes, fears and braggadocio in the confusing miasma of the Trump era, the media soundbites that litter the track reminiscent of labelmate’s THX1312 synthpunk collages. The title track delves deeper in the sonic cacophony, discordant electronics and digital scree scrape and grind against diatribes of failed late-stage capitalism and its resulting festering resentment.

While the acerbic front never lets up, there are enough shifts in style to provide respite from the programmed assault, albeit an unnerving one. ‘Dance!’ is a skulking trip of hypnotic beats and whining synth that struts along with infectious corrosion, and the crunchy mechanics of ‘Caligula!’ recall Nine Inch Nails’ ‘Reptile’ with its cold, toxic resonance. ‘Rage!’ sees the duo at their most coolly laconic, a terse and brittle beat snaps with biting minimalism, hiding the EP’s most scathing line: “trapped in America, about to go insane!”.

Angry Blackmen have built upon the adroit exercises in primal beats and combative lyrical delivery with an EP that sees their reach into the deeper recesses of noise rap yield a work of greater bite and focus. With an uncompromising admonishment of an imploding society of right-wing ascendancy and liberal hypocrisy stated with great insight and sharp humour, Branch and Warren join the ranks of BLACKHANDPATH and Bob Vylan in making hip-hop that’s inventive, pertinent, and vital.

Robedoor ‘Negative Legacy’

Deep within the gruelling industrial working conditions of 19th century London, Dracula stalked the factories and workhouses in his thirst for blood like capital sucking the life from the proletariat, according to a Marxist interpretation of Bram Stoker’s Dracula. For all the sweeping social change and technological advancement brought about by the industrial revolution, the toil of the labouring class still haunts the cities of Western Europe.

With the demands of late-stage capitalism as aggressive as ever, its resulting alienation and disconnect have created a new and special spectral residue for sonic alchemists to try and tap into. From Bristol’s Dark Alchemy nights, Manchester dungeon mage Primitive Knot, and the many witch house artists conjuring spooky electronica across the States, potent mystical energy seems to be growing underneath the urban sprawl. Spearheading the wave of arcane electronics is duo Robedoor, an industrial occult drone act from L.A. comprised of unrelated Alex and Britt (co-founder of Not Not Fun Records) Brown, and have built a heady discography together touching on stoner metal, psychedelic explorations and space rock.

Their latest offering via Deathbomb Arc comes Negative Legacy, a four track journey of synth sorcery and sonic hypnosis which feels less performed and more exorcised in some forbidden ritual. While the swampy murk as heard on previous records still engulf, traces of melody ooze within the mire. Album opener ‘Entity Undertow’ creeps in with monk chants and febrile winds before swelling with hissing beats seductive bass, as if one were under a trance at the hands of the encroaching vampire. Putrid electro palpitates on the ravaged ‘Execution Myth’, cavernous drums pounds like the awaiting of the condemned against the feverish hellscapes of squealing synths and alien effects followed by the most evil, nastiest keyboard throb in this life or hereafter. The drum machines penetrate the smog on penultimate track ‘So Unknown’ while album closer ‘Cauldrone’ is a stirring meander through old-world strings, octave pedal manipulations and Martin Hannet style spatial snares.

This is a dark record, but we live in dark times. As the cogs of neoliberalism continue to grind, the workers and city dwellers yearn to touch the beguiling and ethereal. Negative Legacy is both a successful channelling of ancient mysticism and an unholy trip of detachment all too contemporary in the exploitative and disillusioned world we’re subject to.