Subtitled A Tasteful Rendition of PFM Songs by DJ Manipulator, this exclusively digital release does what it sets out to do: kill the convention that any given MC should establish his repertoire before unloading a remix of his rhymes on the unsuspecting market. Burying this ugly industry standard is gritty philosopher-poet PFM, who brought his previously unreleased tracks to Massachussets turntableist DJ Manipulator so they could ride into the future on a magic carpet woven from time-rending beats and samples. You have the Hoverock label to thank for snatching the fruit of their collabo from the jaws of the continuum, serving it up to listeners of the present.

The LP’s lyrical tone goes from hostile to contemplative to theatrical, then back to smacking the crowd square in its grill. In Welcome to Kill Ugly Remix, PFM declares the urgency of things (”We got millions to save, and no time to kill!”) while DJ Manipulator flaunts his scratching prowess amidst echoes of “No mercy!” What better way to spark this crusade, slaying whack MCs and unimaginative rhymes left and right, than to arm the youth? Children with Weapons picks up where the opener leaves off by embedding PFM’s fiery verses in an ever-expanding lavabed of post-apocalyptic sampling. The first trio of songs finds its knock-out punch in Don’t Say Sh*t: listeners need not adjust their audio if they hear a cyborg pterodactyl screeching repeatedly before it dive-bombs this track.

But the lodestone of the album glistens at its core, where both its artists slow things down to consider the profound-er things in life. Parade Monster (Change Remix) melds superb production with floetic rhymes, and the former’s finger fire nearly overpowers the latter with a mash-up sample that sings “Things change…” Before you can catch your breath, though, Evollutional Kaos (Loverock Remix) unveils the softer side of Kill Ugly while apologizing to a gal who’s been wronged: “Love travels in all souls just to keep us radiant/[I’m] savage with a passion for my gipsy.”

The rest of album, as they say, is history…or is it the future?