It’s no accident that the dreamy, politically potent artwork of Solillaquists of Sound’s first album has been replaced on NO MORE HEROES with a comic-book-style garishness. As part of a planned trilogy of albums, NO MORE HEROES represents the midpoint, where the exposition and philosophical scene-setting of their debut has been replaced with action, conflict and outsized caricatures. While it’s somewhat audacious for an up-and-coming hip-hop group (out of Orlando, no less) to trust their audience to connect the dots within and between three separate albums, SOS is an audacious proposition in the first place. With a progressive lyrical approach that’s evocative of both backpacker hip-hop and fiery spoken-word performances, as well as a distinctly futuristic approach to beat-making that forces an MPC sampler into unnatural contortions of organic-electro fusion, SOS is a square peg, regardless of which round hole you’re trying to fit them into. Even if that round hole was the one that was drawn by their debut. While AS IF WE EXISTED was all consciousness-raising and blistering electro beats, NO MORE HEROES is squarely focused on ass-shaking, broad sonic vistas and back-in-the-day reminiscences. Fat drum fills, crunchy guitar parts, occasional indie-folk flourishes and an all-around thicker approach to production make the comic book version of SOS much more accessible…and that seems to have been exactly the point. For although the grooves are groovier, the rhymes bite much harder, with a cutting and dismissive venom that makes it clear that every party has its price. Of course, we’ll have to wait for the trilogy’s finale to understand exactly what that price is, but until then, there’s more than enough on NO MORE HEROES for listeners to contemplate.