White men in their 40s are not usually expected to be at the cutting edge of Hip-Hop. If you picture the archetype of an older white rapper your mind probably goes to Eminem. And whilst once upon a time Em was a boundary-breaking young upstart from Detroit that could take on any MC, his music has felt stale and dated for over a decade now. Rather than evolving as an artist he has continually tried and failed to conjure up the kind of sounds that once made him the most famous rapper in the world. This kind of trope doesn’t just apply to white artists, with a general tendency for older rappers to be preoccupied with rapping at a breakneck speed and showing off their lyrical ability, with this single-minded focus often coming at the expense of interesting production or flows.

Hemlock Ernst (Future Islands’ Samuel T. Herring) might be a 40-year-old caucasian man from Baltimore but he certainly doesn’t fall victim to these tired old tropes. In fact he is making some of the most unique and interesting Experimental Hip-Hop out there, with a sound closer to JPEGMAFIA and Armand Hammer than Eminem or Macklemore. With yesterday’s release of “Remains” featuring a stellar guest verse from Armand Hammer’s Elucid and the dystopian production of Icky Reels, Hemlock continues to push the sonic boundaries of Hip-Hop to unexpected places. The production is driven by pounding industrial drums, Psychedelic chopped synth lines, and a cohort of strange and ominous sounds. Ernst and Elucid slink in and out of the dark production, showcasing a range of eclectic flows and top-tier lyricism.

The track weaves through dystopian soundscapes that reflect the album’s overarching theme of introspection and existential pondering. Building on the foundation laid by the preceding single “Raised In the South,” “Remains” explores the intersection of jagged industrial beats and Herring’s raw lyrical delivery. This partnership is further amplified by Icky Reels’ production, which swirls with a sense of dissonance and fragmented rhythm, providing an evocative backdrop for the track’s visceral narrative. The haunting beats and abstract imagery immerse the listener in a dense, introspective journey that challenges conventional structures, much like the rest of the album. In “Remains,” Hemlock Ernst continues to stretch the boundaries of his craft, marrying his poetic lyricism with Icky Reels’ experimental production. The track not only reinforces the creative risk-taking that Studying Absence embodies but also serves as a testament to Ernst’s evolution as an artist willing to explore new territories.

Elucid’s guest spot adds a layer of complexity, contributing to the track’s thematic exploration of absence, loss, and existential reflection. As part of an album described as Herring’s most ambitious project to date, “Remains” invites listeners to confront the spaces between memory and reality. The result is a sound that’s both hauntingly familiar and provocatively fresh, cementing Studying Absence as a transformative piece in Hemlock Ernst’s discography. If you enjoy experimental Hip-Hop acts like JPEGMAFIA, Armand Hammer and Death Grips then this might be the track for you. If you enjoyed “Remains” be sure to keep your ears and eyes peeled for the release of  Studying Absence on the 16th of October.