If you have just left your house and you see that the road is full of nails again. Life is as fucked up as that and it's not even your fault. The air is burning and the horizon is in a dark orange, the scenario is getting scarier and crows are watching you like evening entertainment. And you will storm the stage screaming and will find your audience with their pants down. And when "There It Is" opens, right in your face, you will be messed up lovely, with all them noise sound effects, with the raw energy, with the pure and unforgiving aggression. This is the sledgehammer that beats you in the right position. And Grimm comments it on the next cut "Heed The Call", when he goes "I caught you off guard like a bitch slap". Most definitely. And while the 'plow' is still ringing in our ears we are suffering hard to accept his pacing around us on this second cut. Mixing what is mislabeled as horror core, with clever lines, adding a too synthetic beat, and you got a track that you are just not used to anymore.

The ruggedness continues on "Nutcracker". Sounding a little similar like the cut before this, after the initial impression you realize that this beat is some off the next dimension ish. While musically it sounds like something outta the last "Final Fantasy" installment, it's strange structure give it marching energy and a new pattern we are not likely to have heard in abundance. And while it would have been an easy way to spit some thugism over this beat, Grimm keeps it strictly braggadocios, even offering us to be our leader. The short "I Am" is like slaps to our face. This is warfare. Aggression not hidden behind big guns, but the acceptance of a real sword fight. Opening "Infected" with a "Pay attention real quick, this is important business right here. Word life. I just wanna say: fuck y'all", he then goes into a guitar slaughtering that puts to shame the hardest tracks on the last Guns-N-Roses, Slayer or Biohazard album. And he puts a Venice guitar to it, what gives this an ironic feel. But he's not leaving any doubts with his last day of forgiveness rhymes, where he walks around collecting souls, stashing them in a small glass jar.

After this cut, "Flatline" seems calm. The piano is dope on this one, and the track itself is more conform to what our past has prepared us for. But this doesn't mean that Grimm has become innocent, he's still "drowning suckers like Moses when he split the sea". And when he represents his crew that goes by the name as the track "Dedrep", he invited some haunted ghosts to march with him. And we get suckered in like a snake when the flute is coming in. Grimm is never short in telling us why not to trust him, he goes "I kill, because I'm truly ill" and he's truly serious when he says "I crush the typical". Like a radio DJ, he interrupts the flow on "It's Yours", an oriental interlude, that is only taking us deeper in the cloud he manages to manipulate. The slow moving "Misconceptions" is ready to set the world straight again. The flow is also somewhat slowed down, and like a priest preaching Armageddon, this is his pulpit, and we are the sheep.

"Why Try" is getting up a medieval, a myth evil atmosphere with the whining female on the hook. Giving away from where Grimm has risen, "Divine & Conquer" is another dramatic sulfur gas cluster. And the contrast to "Feel Me Now" is only making this sound more fearless with it's ragga chanting. Operating as a ill-fitting intro to "Ting Dem", this uptempo track suffers with its synthetic instrumentation, but again can't be knocked for plagiarism, or wackness. And the drum programming to "Sound Boy Mash" is having us getting up and kick in the next object available. Again on the ragga tip, Grimm is also still on his lyrical revenge tip. He then teams up with Culture Fittz on "My Shadow", a cut that should have been contributed to the "Castlevania" video game. You can imagine the castle with the obligator moon over it. Bats flying around, and Grimm standing there with his scythe. Picking up the intensity another notch, but again remaining in the same vibe, the dope drum programming is pushing "Sadness Of War" forward, Grimm spitting "there's a war going on and I'm dropping pin points direct hits". Like a reaper anthem, "Demise Of The Clones" is the final blow, the final sword cutting through the fog, that is beheading us, and watering the grass with our blood. And like our body is returning to where it came from, so is Grimm when he revisits "There It Is", as "Peace Till...".

Upon reading to this, you will go: "damn, I don't like this style, why should I listen to it". Because you have to allow this style to spread in you like a virus taking over your blood system. This album is not breaking new grounds, does willingly not have the illest sample usage or instrumentation. But this is a horror movie, a Trojan horse, a it just don't give a damn album, self reliance, some serious shit right here album. Some post millennium tension. Cyborg like scenario shit. This is something that unmistakably hits us over the head with clever lines and with a confidence that we can hardly resist.