tessstudyingpopularmusic

[tessstudyingpopularmusic]

Spracklen's Slow 'Heat Death' and the Anti-System Legacy of Death Grips

Hey everyone! Today, I explored Karl Spracklen’s "There is (almost) no alternative: the slow ‘heat death’ of music subcultures and the instrumentalization of contemporary leisure" and wow! This felt like the missing puzzle piece for understanding how Death Grips carve out their aggressively anti-institutional stance in an era where authenticity and rebellion often get co-opted by the very systems they claim to oppose.

Spracklen argues that subcultures which once rooted in resistance and authenticity are now increasingly absorbed into the machinery of commodified leisure. Music, he suggests, has become less a creative or rebellious force and more a product of consumption, one designed to sell lifestyles rather than foster genuine alternatives. And Death Grips feels like the rare exception to this phenomenon, embodying an intentional rejection of this instrumentalization. Instead of shaping their identity to appeal to the masses, they create art that defies categorization, rejecting the industry's tendency (as Negus would say) to mediate and commercialize creativity.

What's great is how this aligns with my problématique (for reminders: How does Death Grips’ deliberate resistance to conventional music industry norms redefine the relationship between artist and institution, and to what extent does their approach align with Keith Negus’ theories on the music industry's role in shaping and mediating artistic production?) Spracklen’s work not only supports the idea that Death Grips’ resistance reshapes the artist-institution relationship, but it also contextualizes them as part of a broader, almost tragic, narrative of subcultural decay. They’re a challenge to the inevitability of that “heat death,” proof that some artists can still redefine the rules of the game instead of being played by it. Negus’ theories on how the music industry mediates artistic production make this connection even more potent. Death Grips reject these mediations outright, proving that an alternative, however chaotic, still exists.

All of this is why I think that this source feels like it was made for this assignment! Hopefully I'll manage to work around this additional source and put up a nice project.

Thank you for reading today and enjoy your weekend! :)

[tessstudyingpopularmusic]

The Primary and Secondary Sources for My Final Project: Death Grips and Industry Mediation

Hello everyone! Today, I’ll present the primary and secondary sources I’ll use for my research project on Death Grips’ resistance to conventional music industry norms. I’ve been exploring how their defiance influences and reshapes the artist-institution relationship.

The primary sources I will use are:

- Social media: Instagram, YouTube, Spotify, X

- Fan forums: Reddit r/DeathGrips

- 4 of their albums: Exmilitary (2011), The Money Store (2012), No Love Deep Web (2012), Jenny Death (second part of The Powers that B). I will analyze songs like “The Money Store” and “No Love Deep Web” to discuss their unique sound and lyrical rebellion. The lyrics and production choices illustrate their anti-establishment ethos.

- 2 of their music videos: No Love (2012), On GP (2015)

- A documentary: THE THIRD WORLD - A Death Grips Documentary, this documentary provides a raw footage of Death Grips and their unique way of making music.

- An interview: « Death Grips Talk About Their ‘No Love Deep Web’ Album, Their Rejection of the Music Industry, and the Evolution of Their Sound » by the magazine Rolling Stone, in 2012

And for my secondary sources:

- Book: Keith Negus’ Mediation Chapter. This theoretical framework will explain how Death Grips challenge industry norms. It will connect their practices with the broader implications of mediation and artist-industry relations.

- Articles: Death Grips, A Eulogy (Pitchfork, 2014), Death Grips, The Artist isn’t Present (Pitchfork, 2013). These analyses will provide critical perspectives on how their strategies have influenced and defied the music industry. They’ll also explore the cultural impact of their music and persona.

- Fan documentary: A Death Grips Documentary - Exmilitary, YouTube

That’s all for today! Thank you for reading and best of luck for working on your projects with all the upcoming exams!

Have a great weekend :)

[tessstudyingpopularmusic]

Exploring the Defiance of Death Grips in the Music Industry

Hello everyone! Today, I’d like to share to you guys about my project of research.

The topic of the music industry has always fascinated me. The way artists balance creative freedom with the constraints of commercial success is something I often find myself thinking about. What draws me most to this subject is how some artists choose to challenge and even defy the very system that helped them rise to fame. For me, this act of rebellion is not just an act of resistance but a beautiful demonstration of artistic integrity and freedom.

That’s why I chose to focus my research project on Death Grips, which is an experimental group that has pushed the boundaries of what is expected in the music industry. I’ve been nonstop writing about them here! Their refusal to conform to traditional industry norms is not only striking but also highly compelling. My project explores the following question: “How does Death Grips’ deliberate resistance to conventional music industry norms redefine the relationship between artist and institution, and to what extent does their approach align with Keith Negus’ theories on the music industry’s role in shaping and mediating artistic production?” This question will allow me to analyze Death Grips’ methods of subverting industry expectations, especially in terms of their DIY ethos, innovative use of digital platforms, and resistance to commercial pressures!

Keith Negus’ work on the music industry, particularly his exploration of how artists are both shaped by and resist industry structures, has heavily influenced this project. His theory about the “mediation” of artists — how the music industry not only shapes their production but also their public persona and creative output — provides the perfect lens through which to examine Death Grips. Their refusal to follow conventional promotional strategies and their prioritization of artistic freedom over mainstream success highlights the complexity of the artist-industry relationship in the modern age.

As I dive deeper into the project, I will explore their controversial stances on digital mediation, their rebellious image, and how their subversion has influenced both the music industry and other artists.

Here’s the bibliography I’m going to use for this project!:

As primary sources:

Death Grips Albums: Exmilitary (2011) – album,

Death Grips, The Money Store (2012) – album,

Death Grips, No Love Deep Web (2012) – album,

Death Grips, Jenny Death/The Powers that B (2015) – album,

Death Grips’ Music Videos: “No Love” (2012) – music video,

Death Grips “Centuries of Damn” (2015) – music video,

Death Grips Interviews: “Death Grips Talk About Their ‘No Love Deep Web’ Album, Their Rejection of the Music Industry, and the Evolution of Their Sound” – Interview with Death Grips (Rolling Stone, 2012)

As secondary sources:

Books: Negus, Keith. Studying Popular Music: Theory and Method. Routledge, 1996.

Articles: Death Grips: The Anti-Music Industry Band – Article, Pitchfork (2013)

Social Media Posts: Death Grips’ Instagram Account: @deathgrips

News Articles: Death Grips and the Politics of Rejection: How the Group is Destroying the Music Industry’s Norms – Article, NME (2014)

Fan Forums and Groups: Death Grips Subreddit: r/DeathGrips

Social Media Posts (JPEGMAFIA and Run the Jewels): JPEGMAFIA Twitter: @jpegmafia

Run the Jewels Twitter: @runjewels

Videos and Documentaries: Death Grips: Music for the Masses (2016) – Documentary

Hopefully you guys will be interested! :)

Wish you the best in your researches guys!

[tessstudyingpopularmusic]

JPEGMAFIA vs. Death Grips Rivalry: True rivalry or fan fantasy?

Hello! Today I wanted to write about the "rivalry" between JPEGMAFIA and Death Grips. JPEGMAFIA, also known as "Peggy," is an experimental hip-hop artist known for his confrontational style, complex production, and dark humor. His music blends elements of hip-hop, punk, and noise, often with chaotic beats, distorted sounds, and politically charged lyrics. Peggy's work addresses themes like social justice, personal struggles, and critiques of mainstream culture, creating a raw, intense listening experience. His albums, like Veteran and All My Heroes Are Cornballs, showcase his distinctive style and establish him as a major figure in avant-garde rap.

There’s been a lot of buzz around the so-called rivalry between JPEGMAFIA and Death Grips. Both are pioneers of experimental hip-hop, pushing boundaries with abrasive sounds, but their differences make for an interesting clash. JPEGMAFIA’s style leans heavily on politically charged, sarcastic lyrics, while Death Grips thrives on raw, chaotic energy with a focus on anti-industry sentiment. Fans have amplified the rivalry, with each camp claiming their artist to be the “true” voice of the underground scene. However, it feels more like an unspoken mutual respect than a rivalry. While JPEGMAFIA has openly referenced Death Grips, he’s also made it clear he’s doing his own thing, blending vulnerability with aggression in ways that contrast with Death Grips’ relentless intensity. In a way, the rivalry reflects a larger conversation on what experimental hip-hop can be: chaotic but also nuanced, shocking yet relatable. This tension between them has sparked an entire online culture, with fans dissecting every interaction and crossover influence between the two, even speculating if this “rivalry” is all part of a greater creative message about the nature of originality.

[tessstudyingpopularmusic]

Death Grips: Fans or Fanatics?

Hi everyone! Hopefully you had a good week :) I am back today with a new entry about… Death Grips of course!! And I especially wanted to talk about their fanbase.

The Death Grips fanbase has always been a unique beast. What started as a cult following in the deep corners of the Internet evolved into something much more aggressive and, at times, problematic. In the early days, fans dug deep into obscure forums to find new bands, and Death Grips thrived in that secrecy. However, as the Internet shifted, their once-passionate fanbase started to deteriorate.

By the time The Money Store came out, the group’s rise in popularity led to a kind of memification. Fans began to dissect their music with memes and inside jokes rather than genuine critique or appreciation, resulting in a community more obsessed with being part of the spectacle than respecting the art itself. It’s strange how, in a way, this fanbase reflects the chaos of the music, but with an insincere edge. Their concerts are notorious for aggressive behaviour: fans pushing, shoving, and sometimes getting outright violent in a way that feels almost disconnected from the music. I’ve been to two of their concerts and it was a literal survival of the fittest. It’s as if being a fan of Death Grips became more about proving how “noided” you were rather than engaging with the experimental sounds or ethos. This kind of loyalty, bordering on fanaticism, has definitely created a weird cult-like atmosphere around the band. I can’t think of many other artists whose shows come with an unspoken rule: you’re either in or you’re out, and being in means embracing the chaos completely, even if that means getting bruised or worse. The band has always kept a distance, never fully interacting with this wave of fanaticism. But now, as their unofficial hiatus seems to stretch on, it feels like this might have been the ending they saw coming all along. For a band that thrived on chaos, it seems fitting that their fanbase became its own uncontrollable storm. I think that’s part of the appeal, though. Death Grips make you feel something raw and unfiltered. For some, that’s liberating. While for others, it’s terrifying. Either way, it’s unforgettable!

Thank you for you attention and see you next week!

The band in 2014!

[tessstudyingpopularmusic]

Death Grips and the Art of Defiance

(TW: Genitalia)

Today, I wanted to talk about an event that particularly struck me when I started listening and discovering Death Grips music and controversies.

Death Grips’ dummer, Zach Hill, really doesn’t care what anyone thinks—and that’s exactly why I can’t stop thinking about their « No Love Deep Web » album cover, which originally released via their website on October 1, 2012. At the time when the album was getting produced, they were stuck in a battle with Epic Records, their label. The industry wanted them to play by the rules: wait for the “right” time to release the album, follow the marketing plan, do everything by the book. Except that Death Grips doesn’t do “by the book.” They’re chaotic, unpredictable, and fiercely independent. So what do they do? They leak the album online, for free, because to them, it wasn’t about money or labels or the industry machine. It was about the music. It was about fighting control.

On the cover album, Zach Hill took a picture of his own genitalia with the name of the album written on it. There’s something so absurd, so over-the-top, about taking a picture of your genitalia and slapping it on your album for the world to see. But it’s also genius in its own way. When I first heard about it, I couldn’t tell if it was just a cheap shock tactic or if there was something more. But the more I thought about it, the more it felt like Zach Hill and Death Grips were making a statement about the music industry and labels. A loud, unapologetic statement, especially when I learned about their battle with Epic Records.

That cover feels like it’s their way of saying, “This is our art. You can’t censor it. You can’t control it. We’re going to shove it in your face whether you like it or not.” It’s raw and uncomfortable, but that’s the point. It’s a literal middle finger to anyone trying to box them in. Zach Hill especially embodies that chaotic, rebellious spirit. He didn’t just play the drums; he basically beat them into submission. He wasn’t interested in perfection, it was all about raw emotion, expression, and especially, freedom. Stefan Burnett was 100% for the idea of using this picture as the album cover, as he felt the same way as his music partner about how controlling music labels can be. The cover of « No Love Deep Web » feels like an extension of that: this brazen act of defiance that perfectly captures Death Grips’ way of life. They don’t just push boundaries, they obliterate them.

Zach Hill’s decision wasn’t just a stunt. It was a declaration! And it’s kind of inspiring, in a weird way. They remind me that true art isn’t about following the rules or making everyone comfortable. Sometimes, it’s about making people uncomfortable, about challenging everything we think we know about what art should be. Many artworks, as well as songs, were made to provoke a reaction and open people’s mind about the world around them. It could be about inequalities, unfairness, raw emotions, death… Art embodies so many aspects, and Death Grips wants the world, or at the very least, their fan base to realise how much more there is around all of us.

It makes me think about the role of the music industry today. So much of it is built around controlling artists, packaging them, making them digestible for the masses. But Death Grips refuses to be part of that system. And honestly, that’s why their music hits so hard for me.

Here’s the censored album cover in case you’re curious— the uncensored version still exists to this day…

[tessstudyingpopularmusic]

Death Grips as a Political Influence?

Hello there!

My name is Tess and I'm here to share my passion about a music group named Death Grips from Sacramento in California. The lead vocalist is known as MC Ride (Stephan Burnett), Zach Hill as the drummer, and Andy Morin as the musician. They excel in American hip-hop, with influences from punk rock, and noise music. Death Grips has a little something that makes people listening to them, remember them. So many of their songs is abrasive and bleak but they have a deeper meaning behind every one of them. Sometimes it translates to the feeling of injustice, of constantly being on edge, of being watched, judged, and profiled just because of who you are.

When George Floyd was killed by a police officer on the 25th May of 2020, the Black Lives Matter movement was sparked again because of one more injustice. The world watched, horrified, as the knee putting pressure on his neck became a symbol for centuries of injustices. And Death Grips, having a person of color as a leader, translated those injustices into a song named "Klink". When listening to the song, you can hear police sirens, screams, etc. and you can feel the way marginalized communities, particularly Black people, are constantly under surveillance, constantly questioned, constantly policed. MC Ride’s intensity feels like an expression of the suffocation that Floyd experienced in his final moments. An interesting fact about the name for the song “Klink” is that it means “jail,” derived from the noise cell doors used to make in a jail, bringing us back to the idea of police, prison, etc.

And that's the thing about Death Grips, their music taps into the frustrations that fuel social movements. The chaos, the anger, the desperation... all of it mirrors the energy of the protests, the way people took to the streets to demand justice to scream that Black lives matter! Death Grips might not be officially making protest anthems, but the feeling they convey through their music feels like it is indeed one.

Even though some people don't agree to see music groups being part of social or political movements, I feel like they do play an important role as music propagates very quickly and can be extremely entertaining while being about important matters ("Not Like Us" by Kendrick Lamar is also a good example). Songs like these stick to the brain with an entertaining melody and then gets shared through our social circle.

What do you think about it? Should music stick to being entertaining without meaning? Or should it play an important part as a social weapon? Let me know!

(Listen to the song here!:

)