As on Black Metal, Blunt sounds rough, like he's been up all night, and pissed off. "Hennessy, what have you done to me?" he croaks on "SON," a track that first surfaced last year. He grumbles over the otherwise sunny "RACHEL CUT," and adopts what sounds like an exaggerated English accent on the synth pop of "WAR REPORT." We then get a sharp rap on "COCO," which is almost hilariously vicious, with Blunt savouring each syllable.
The instrumental tracks lay bare Black Metal's endearingly rudimentary form of sampling. Closer "GASS" is a single looping sample of Nicki Minaj but it's a powerful one—"y'all got everybody infiltrating negroes," she says over and over, a possible comment on the continuing appropriation of black artists. "DIESEL" is a piece of brittle dub, while "UV" is a lush slice-and-dice effort with an orchestral feel. These tracks are a microcosm for Dean Blunt's odd methodology. You can never tell what's sampled and what's come from Blunt himself. Not that it matters. Blunt's frayed singer-songwriter style is gripping regardless of which kind of music he's pilfering.