The record skips the intro and gets straight down to it, throwing tuned hi-hats, hard melodic 808s, and a percussing synth line straight at you, before the whole beat abruptly shifts keys mid way. On “BEAT DA GLOCK,” g hao isn’t shy with the saturation knob, pushing the drive so hard the track ends up smelling like a tobacco filled bar back before the smoking ban was a thing. As if that grittiness wasn’t enough, the beat in the end gets completely screwed, the 808s widen out into a massive rumble while the vocal delivery drops into a slow, hypnotic state.
“HELLA DANK” switches tone by layering a classic, bossa nova flavoured sample that sounds like it was ripped straight off a retro TV commercial, offering noticeably cleaner vocals in a few spots to give the track some room to breathe. “UNSTOPPABLE / SPLIT APART” rides that exact same wave, acting almost like a direct continuation of the track before it, at least until the end, where a monstrous 808 line slams through out of nowhere like a piece of heavy machinery, eating up everything in its path.
“PAPRIKA” stands out thanks to a jazzy guitar loop mapped over a thick bassline and a tight whisper flow where you can practically hear every sharp intake of air, mouth click, and raw vocal texture. By “YBFS,” those signature fiery 808s make a comeback, paired with a steady, dark vocal flow and a looping retro synth motif. “MAGIC DA GATHERING” pulls off a really cool contrast that gets you moving right away, pairing thick 808s with a brass-heavy Latin groove and a smooth soft flow.
“DEVIL BOY” pairs classic, cinematic film strings with a live-sounding drum beat and a high-pitched vocal delivery that cuts through the mix. “FEEL DA PRESSURE” does exactly what the title promises, delivering bass that will test your subwoofer’s limits alongside saturation dialed up so high it creates an almost uncomfortable feeling while playful tempo changes keep you off balance. “FEEL DA PAIN” probably contains the most addictive string loop on the entire project, and probably our personal favourite moment of the album, once again contrasting beautifully against those tuned 808s.
“BORN IN HELL” stays in a similar lane, replacing the strings with a melancholic piano melody paired with high-pitched, lo-fi vocal passes. “HOT HELL” delivers an opera-style vocal sample while intentionally pushing the main vocal flows into the background, an interesting choice from a mixing standpoint. Finally, “THRU DIS HELL” pairs a playful sample with a strict, driving beat, using heavy vocal reverb to give the impression that the artist is slowly walking away from you, vanishing into the fog.
If you are into these from hell 808s that marked the music of a whole generation, maybe while reading some Alan Moore, this album is for you, from start to finish.
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Secret Eclectic 