You know that feeling when you hear a song and it feels less like music and more like a physical confrontation? That’s basically the entire vibe of Beware by Death Grips. It’s the opening track on their 2011 mixtape Exmilitary, and honestly, it might be one of the most terrifyingly effective introductions in the history of experimental hip-hop. It doesn't just start. It looms.
When MC Ride yells about being the beast he worships, he isn't just being edgy for the sake of it. He’s laying down a manifesto. It’s about radical individual autonomy, the kind of self-reliance that borders on the psychotic. If you’ve ever found yourself spiraling down a rabbit hole of online music forums, you’ve seen the memes, the theories, and the endless debates about what Stefan Burnett (MC Ride) is actually trying to say. But beneath the layers of distortion and Charles Manson samples, there is a very real, very raw human element that explains why this track hasn't aged a day since it dropped.
The Manson Sample and the Philosophy of the Void
The first thing anyone notices about Beware by Death Grips is that long, rambling intro. It’s Charles Manson. Specifically, it’s a clip from an interview where he’s talking about his "game" and how he rolls the nickels. Now, using a Manson sample in 2011 was a risky move because it can easily come off as cheap shock value. But here? It’s different. It sets a stage of total social alienation.
Manson isn't here to represent murder; he's here to represent the absolute rejection of the "normal" world. He talks about how he doesn't look at the world the way you do. By the time that jagged, lo-fi guitar riff from Jane's Addiction's "Up the Beach" kicks in, you’re already primed for something that exists outside the bounds of polite society. Zach Hill’s drumming on this track is relatively restrained compared to his later work, but it has this hypnotic, tribal quality that anchors the chaos. It’s a slow burn that feels like a ritual.
Most people get this song wrong by assuming it’s just "angry rap." It’s actually closer to industrial or punk in its DNA. Andy Morin’s production (Flatlander) takes these disparate elements—a psychedelic rock sample, a cult leader’s rambling, and heavy electronic bass—and mashes them into a cohesive wall of sound. It’s dense. It’s suffocating. It’s perfect.
Why the Lyrics to Beware by Death Grips Resonate with the Modern Outsider
"I am the beast I worship."
That line is the heart of the song. It’s a statement of absolute self-deification. In a world where we’re constantly told who to be by algorithms and social pressure, there’s something weirdly cathartic about a man screaming that he only answers to himself. MC Ride’s delivery is breathless. He sounds like he’s exorcising a demon, or maybe he’s inviting one in.
The imagery is bleak. He talks about "sacrificial rituals" and "the tables flipped over." It’s apocalyptic. You’ve got references to the occult, but it’s not necessarily about Satanism in a religious sense. It’s more about the internal darkness we all carry. The song explores the idea of the "God self"—the notion that you are the creator and destroyer of your own reality.
Honestly, it’s a lot to process.
One minute he’s talking about "triple six, five, forked tongue," and the next he’s describing a state of complete mental collapse. This isn't the kind of music you put on at a party unless you want everyone to leave. It’s solitary music. It’s "walking through a rainy city at 3 AM with headphones on" music. The vulnerability is hidden under the aggression. When he says he’s "clutching his inner self," you realize this isn't just a tough-guy act. It's a survival mechanism.
The Production Magic of Exmilitary
We have to talk about the Jane's Addiction sample again because it’s a masterclass in how to flip a sound. Most hip-hop producers in the early 2010s were looking for soul loops or clean funk breaks. Death Grips went the other way. They took the hazy, dreamlike intro of "Up the Beach" and turned it into something menacing.
By slowing it down and layering it with that crushing low-end, they created a sense of dread that is almost cinematic. The song doesn't have a traditional hook. It doesn't have a "radio-friendly" structure. It’s a five-minute-and-fifty-three-second descent into madness.
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The way the drums drop out and then slam back in creates this feeling of vertigo. You never quite feel stable while listening to Beware by Death Grips. And that's the point. It’s supposed to keep you on edge. This track served as a blueprint for the "glitch-hop" and experimental industrial scenes that would follow. Without this song, you probably don't get the same level of mainstream acceptance for artists like JPEGMAFIA or Danny Brown’s more experimental phases.
Breaking Down the Sonics
- The Guitar: It’s washed in reverb, creating a sense of vast, empty space.
- The Vocals: They are mixed loud, right in your face, making it impossible to ignore the lyrics.
- The Low End: There’s a sub-bass that kicks in during the verses that literally rattles your teeth if you’re listening on a good system.
- The Silence: There are brief moments where the sound cuts out, making the eventual return of the beat feel even more violent.
Misconceptions and the "Internet Music" Label
There’s this weird tendency to pigeonhole Death Grips as "meme music." Because they have such a dedicated, sometimes obsessive online following (shoutout to the r/deathgrips subreddit), people often dismiss the actual artistry. But listen to Beware by Death Grips without looking at a single forum post.
The technicality is insane.
Zach Hill is arguably one of the greatest drummers of his generation, and even when he’s playing "simple" beats, his timing and texture are unique. Stefan’s lyricism is deeply poetic, drawing from influences like William S. Burroughs and various esoteric philosophies. It’s not just "shouting." It’s a carefully constructed persona.
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People also think the band is just trying to be "weird" for the sake of it. If you look at their history—the way they leaked their own album No Love Deep Web to spite their label (Epic Records)—you see a consistent thread of anti-establishment behavior. Beware was the opening salvo in that war. It wasn't a gimmick; it was an identity.
The Cultural Impact a Decade Later
It’s been well over a decade since Exmilitary was released. In internet years, that’s an eternity. Yet, Beware by Death Grips is still the track people point to when they want to show someone what makes this band special. It hasn't been diluted by the passage of time.
The song has appeared in countless "best of" lists and has been analyzed by musicologists and YouTubers alike. Why? Because it’s one of the few songs that successfully captures the feeling of total psychic fracture. It’s the sound of the 21st-century anxiety dream.
We live in a world of constant surveillance and digital noise. This track offers a brief, violent escape into a world where only the individual matters. It’s terrifying, but it’s also incredibly liberating. It’s a "beware" sign, sure, but it’s also an invitation to look at the parts of yourself you usually keep hidden.
How to Actually Approach Listening to Death Grips
If you're new to the band, starting with Beware is the right move, but don't expect to "get it" on the first listen. It’s an acquired taste, like black coffee or a punch to the gut.
- Use Good Headphones: The production is so layered that cheap earbuds will turn the whole thing into a muddy mess. You need to hear the separation between the samples and the live drums.
- Read the Lyrics: Don't just let the noise wash over you. Look at what he’s actually saying. The references to "the serpent's tongue" and "the master's feet" add a whole new layer of meaning.
- Context Matters: Remember that this came out in 2011. Hip-hop was in a very different place. Drake was dominating the charts with Take Care. In that context, Beware felt like a hand grenade tossed into a living room.
- Don't Overthink It: At the end of the day, it’s a high-energy track. Let the rhythm hit you.
Final Thoughts on the Legacy of the Track
Beware by Death Grips isn't just a song; it's a mood. It’s a specific kind of dark, internal power. It’s about the refusal to be broken by a world that wants to categorize and sell you.
Whether you love it or hate it, you can't deny its presence. It demands your attention. It forces you to reckon with it. That’s the hallmark of great art. It doesn't ask for permission to exist. It just is.
To truly appreciate what’s happening here, you have to look past the surface-level aggression. See it as a piece of performance art. See it as a philosophical statement. Or just see it as the hardest opening track of the 2010s. Either way, you’re right.
Actionable Insights for the Deep Listener
- Explore the Samples: Go listen to Jane's Addiction's "Up the Beach" and then listen to Beware again. Seeing how they transformed a psych-rock instrumental into an industrial nightmare gives you a huge appreciation for Andy Morin's production skills.
- Trace the Influence: Listen to later albums like The Money Store or Jenny Death. You can hear the seeds of their entire career planted in this one six-minute track.
- Check the Visuals: The music video for "Beware" (and other tracks from Exmilitary) is essential. It’s lo-fi, grainy, and perfectly matches the aesthetic of the music. It’s a complete sensory package.
- Dig into the Literature: If the themes of self-deification interest you, look into the works of Aleister Crowley or Friedrich Nietzsche. MC Ride isn't necessarily a disciple of these people, but the DNA of "The Will to Power" is all over these lyrics.
- Listen to the Mixtape in Full: Exmilitary is a journey. Don't just stop at the first track. Let the whole thing play out to see how Beware sets the tone for the absolute carnage that follows.