Manslaughter 777 is the duo of Lee Buford (The Body, Sightless Pit, Dead Times, Everyone Asked About You) and Zac Jones (Braveyoung, Nothing, MSC). Both are drummers and programmers, and with their second album God’s World, which comes out on vinyl (orange or black) and digital June 25 through Thrill Jockey, they continue to hone a sound that’s wild, raw, and groove-laden. The ten tracks hit the sweet spot between infectious and pummeling as Buford and Jones blend live playing and samples and draw upon elements from over a half dozen complementary genres.
The first record by Manslaughter 777, World Vision Perfect Harmony, came out in March 2021, also on Thrill Jockey. Befitting what’s essentially a side project, there have been no EPs or singles or stray compilation tracks, just a solitary album until the arrival of God’s World, which picks up where its predecessor left off, but with aspects of refinement in the scheme.
In the promotional text for God’s World, Zac Jones states that he wanted the new album to include cuts that could function as the musical backdrop at parties, and the results pass that test without a hitch. But really, ‘twas not much different with the debut LP; it’s just that the party in World Vision Perfect Harmony’s case is being held in a concrete bunker, with the music handed off to the evening’s DJ on an unlabeled cassette. Whenever somebody asks about the makers of the music, the reply is very short: “Oh, just some people I know.”
In short, the first album has a decidedly underground feel to it, registering as appropriately fucked up for the year of its making without straining for rawness, getting too damaged, or adopting any edgelord qualities. The debut is raw but not especially abrasive, and it flows rather than flails, but it’s still a beautifully unpolished thing. The new record doesn’t locate that polish but instead leans even deeper into the groove imperative so that it becomes irresistible, even as its true commercial prospects (and intent) are basically nil.
God’s World is loose, but it’s never assembled sloppily. Numerous similar projects from across the last thirty years can feel as if they moved from conception to completion in just a few hours. In a nutshell, the record delivers bangers in the moment but doesn’t possess much in the way of depth. Manslaughter 777’s latest never registers as unnecessarily fussed over while thriving on multidimensionality.
This is largely achieved by pulling from not just hip-hop and techno but also dub, R&B, industrial, and, yes, indeed, a little noise. With this many stylistic points of reference, it’s clear the intent wasn’t to undermine or subvert but rather consolidate, hybridize, and extend. And from there, Buford and Jones’ love of their inspirations becomes obvious. Put it on, turn it up, and bug out.
GRADED ON A CURVE:
A-
