Audiopile Review: In the post-everything age, scenes that used to be bound by strict codes of conduct have embraced anything-goes eclecticism with a frankly absurd fervour. Metal new releases have become a perplexing cavalcade of genre mashups. And hip-hop gave up on the tedium of keeping it real long, long ago. Even in this context, Baltimore producer and multi-instrumentalist Tariq Ravelomanana, aka Infinity Knives, is ridonkulously eclectic. His style is perhaps closest to the expansive noise-rap of clipping. But he ditches the LA trio’s cerebral precision in favour of sprawling lo-fi chaos. Fellow B-more resident Brian Ennals is surely the perfect emcee for Infinity Knives. His flows are open-ended and witty but also as raw and messy as hell. ‘A City Drowned in God’s Black Tears’ is the duo’s third album, and it follows in the wake of their massively critically acclaimed ‘King Cobra’. Here, Ennal’s too-much-information personal confessionals and unfiltered political invective are striking, to say the least. And Infinity Knives is on especially bonkers form. There are moments where we had to ask ourselves: “Wait, did they, like, sample an entire song here or did they actually build this whole thing from scratch?” It simply must be heard to be believed. But you probably still won’t believe it.

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Acclaimed Baltimore experimental hip-hop duo, Infinity Knives, & Brian Ennals, return with the vital album, ‘A City Drowned in God’s Black Tears’ – an incendiary, irresistible rap record that marries unflinching discourse with bold and unpredictable production.