A SPLASH OF COLOR makes its intentions clear without ever fully figuring out how to execute them. Louisville's Guerrilla Warfare mix hardcore, nu-metal, rap metal, trap, R&B, death metal and atmospheric interludes. The problem isn't the number of styles; it's how often they interrupt one another without forming a convincing whole. There is a version of this record where the collisions feel chaotic in a fun, intentional way, but too often it sounds like the band is throwing ideas at the wall and trusting heaviness to hold everything together.

The title track sets up that problem immediately. Its drippy, echoing intro and slow chugs create a murky mood, but the hip-hop rhythm and vocal flow add little personality, while the bass and drums feel hollow. "six6six" follows with eerie, high-strung riffs that recall Korn, though the comparison mostly highlights how dated and underpowered the groove feels. The slow breakdowns clunk along without much impact. Even when the snare cuts through, the song never becomes especially forceful, and a voicemail outro introduces the skit-heavy framing that keeps popping up across the album.

The guest-heavy "Rats A$$" and "¢ontent" show how easily the ingredients muddy one another. The former moves between crunchy riffs, rap sections, slow drums and harsh vocals, but the switches feel awkward rather than exciting. The dark guitar tones work in places, yet the vocal choices pull focus away from them. "¢ontent" is more cohesive instrumentally, with a thick low end and steadier groove, but its exaggerated rap delivery undercuts the atmosphere. Vocals are the record's biggest obstacle: different flows, tones, screams, layers and guest voices compete so constantly that neither a clear identity nor a commanding lead performance emerges.

"LiKE MiKE" offers a glimpse of what could work. After an insurance-expiration voicemail, it settles into a simple R&B beat and a rap performance that sounds comfortable in its setting. Washed-out drums, synths and vocals gradually enter, making the transitions feel arranged rather than thrown together. It's one of the album's most convincing experiments because the band lets the idea breathe instead of rushing to prove how heavy it can get. The rehearsal snippets add a human touch, even if the voicemail motif eventually wears out its welcome.

That brief success makes "i think ur fine" more frustrating. The guitar riff has a death-metal bite, but the rap-rock vocal approach dulls the impact, while the pig squeals and breakdown add yet more clutter. "The Deep End" starts more promisingly, pairing whispery vocals, soft cymbal taps and eerie textures with a slow beat before bringing in pinch harmonics and heavier riffs. The softer passages let the rapping sit more naturally, but faster flows, harsh screams, a guitar solo and a funky ending eventually derail the track. These songs don't lack ideas; they lack the editing needed to make the ideas reinforce one another.

"watersliiide" and "SPLiSH SPLaSH" push the overload toward its limit. Creepy, Korn-like guitar textures and quick, low vocal delivery make a distinctive combination on paper, but the constant shifts feel like a playlist shuffled inside one song. It's like pouring every large drink at McDonald's into a single cup: funny as a concept, but rough to finish. By contrast, "Scorched E4rth" is comparatively direct, leaning on fast, deep riffs and death-metal energy. It isn't a knockout, and the vocals still lack presence, but the track benefits from not trying to be five things at once. "no fly list" gets some mileage from its drum-and-bass interlude and airplane-themed lyrics.

The closing stretch remains uneven. "ULTRAViOLENT" has punchy pinch harmonics, thick low end and a serviceable breakdown, but stacked vocal lines make the mix crowded again. "anesth3sis" offers a soft, distant beat that could provide a satisfying comedown, though rapid rapping and competing vocal layers disturb its space. A lyric that appears to use the N-word, without enough context to establish who is saying it, is distracting rather than illuminating. The final voicemail, with a father telling his son he loves him, is genuinely sweet and gives the album a personal ending after all the ironic skits and genre whiplash.

A SPLASH OF COLOR has flashes of personality, and "LiKE MiKE" shows Guerrilla Warfare can make their eclectic influences click when they commit to a mood and give each part breathing room. Too often, the riffs, rap flows, screams, trap beats and atmospheric ideas compete instead of collaborating. The snare and low-end moments have impact, but hollow drums and inconsistent vocals weaken the heaviness. The ambition is there; the cohesion isn't. At 13 tracks, the album would benefit from sharper choices and a clearer sense of which ideas actually serve the songs.