GutterPutter

Last year, I managed to write a review on Rural Internet’s record called escape room. It’s a good record that, while it might not have a certain kick to make it lyrically impressive or consistently catchy, it does show what makes Rural Internet great. The band enjoys a brief bout of popularity from time to time whether it’s from a complimentary review by Anthony Fantano or from a small bit of hype from blogs like Underground Vampire. Managing to cultivate a quiet yet loyal following through their themes of queer identity or society, the trio is slowly yet gradually rising up to the upper echelons of underground rap. With their beats that tend to take cues from hyperpop, deconstructed club, and indie rock, the amount of energy that could be found in the trio is unrivalled.

Thus, with the release of SAINT ANGER, I am interested to see if there are improvements, refinements, or alterations to be found in Rural Internet’s musical evolution. Compared to their last album, the hyperpop influence morphs into a visceral kind of industrial hip hop as noted right from the beginning in ‘TIKTOK’ or ‘CAPITALISM’. The digestible kind of emo pop or indietronica takes a sharp turn to trap metal such as in ‘CIRCUS’, ‘CW’, or ‘AGE OF SIN’. Rather than put their baskets into a fun little trend, the trio opt to instead take their production towards abrasiveness and alienness. What SAINT ANGER lacks in relative accessibility now, it more than makes up for its sharper drive and an explicit contemporary political stance. A double-edged sword that pays off well later on.

The satirising of much of America’s political state and the mainstream media is apparent throughout the album. With much of the themes being the division between both genders and generations, commercialisation, and disillusionment, SAINT ANGER penetrates deep into the frustration of being a Zoomer. Bafflement on the media’s obsession with the cryptoverse in ‘TOKENIZE’, self-parodying braggadocio in ‘CAPITALISM’ and ‘THROATCUTTER’, and a perchance of lamentation in ‘BIG GODS, BIG GUNS’ supplement the album with conscious bitterness. Not-so-subtle references to Roe v. Wade and sexism is apparent in ‘INTRO’.  ‘WHO CARES?’ pokes into the fixation of stereotyping within social media and the commodification of nerd culture.

A notable shoutout is worth throwing to the metatextual outlook at introspection and desperation in ‘THE CRUCIFIXION OF SAINT ANGER’. “I’m not angry/ I’m not a saint/ I’m just tired of your gaze,” goes the hook of the last track to sum up how helpless it would be to be a part of a generation with little influences in the long term against all the fiascos in the world. It’s bleak, downbeat, and bitter at all the fetishism that is granted to someone who’s having a terrible experience with their lives without an offer of help.

I do admit that throughout the record, the kaleidoscopic production and the on-the-nose themes can come off as off-putting for how cynical or even nihilistic some of the comments go. At the same time, the rapping style for all three members could be a hit-or-miss for those who either find them to be a fresh breath or are budget versions of the likes of Danny Brown for one example. ‘OCCAM’S RAZOR’ is the most extreme example of how the signature style of Rural Internet can go overboard to the point of being too disorientating. 

On the other hand, some of  the musical direction helps add to the sense of non-linearity and this unpredictability is what adds to the enjoyment of the experience. Take the beat switches in ‘T.A.N.D’ or ‘FREAKSTORM’ which feels like diving deep into the psyche of someone on a nervous breakdown. My personal favourite tracks in ‘HANDCLAPPING TUTORIAL’ and ‘GET SHOT’ respectively tackle celebrityhood and gun culture in a way that is catchy and befitting of their industrial take. Helping with that is how the beats incorporate the appropriate sound effect, adding an unorthodox kind of appeal that makes you want to listen to it on repeat without a certain mainstream stigma. 

Oh, I would also like to leave a small appreciation for the abundant number of featured artists within the album. RXKNephew’s verse in ‘GET SHOT’ is one notable shout out as he offers a certain swagger that reminds me of Public Enemy’s Chuck D which, given the political overtone, might be a dope postmodern blend. In fact, I would go as far as to say that he steals the whole show with how his confidence subtly condemns the glorification of gang violence and crime.

SAINT ANGER, to me, could be seen as a potential stepping stone for the trio to continue honing their skills to an effective degree. Could Rural Internet be the next Death Grips? After all, this album takes on an underground genre and gives it a twist to make it fit the frantic production and maniac rapping like a glove. With their discography on course to being prolific with four LPs being out already in a matter of two years, time will tell if they’ll be the ones to lead the charge in the future. I would love to see how their music will continue to evolve from there. They’ve shown that they can take a step forward in their previous effort if they want to, what could possibly hurt them from taking this sound further?