Punk and hip-hop: not genres typically associated with each other — except in the case of New Jersey-born duo Ho99o9, pronounced “Horror.” Founded in 2012, the punk-rap group isn’t new to the genre-bending scene, even landing on Rolling Stone’s “10 New Artists You Need To Know” for September of 2014.

However, with its fresh LP, “Tomorrow We Escape,” Ho99o9 brings its greatest work yet. Released Tuesday, the album refuses categorization like Ho99o9’s previous work with a confidence that comes from artistic authenticity and innovation. Eaddy and theOGM, the members of Ho99o9, have yanked the spotlight back into their direction with production that refuses to sit still and vocals that’ll shatter listeners’s headphones — in a good way.

“Tomorrow We Escape” is playful in its delivery of the album’s structural narrative. The opening track, “I Miss Home,” starts soft, a tease for what’s to come.

In the first few seconds, Ho99o9 proves itself to be at a higher level than before with the meticulous structuring of the opening buildup. Rather than hop right into the classic metal wave of sound, the opening track sets the scene with a cinematic intro.

Don’t worry, the duo’s signature punk sound starts up again with “Escape,” releasing the tension built in the opening track. Despite the instrumentation leaning more toward metal than punk, this song deftly avoids overdone vocals and enters headbanger territory safely.

“Target Practice” continues the headbanger thread, though it shoulders hip-hop elements with textured, industrial production that doesn’t give listeners the chance to sit still. The song strikes an exciting balance between its more melodic verses and its not-quite-screamo earworm of a chorus.

Ho99o9’s grasp on maneuvering through genres via percussion acts as a throughline that holds “Tomorrow We Escape” together, and the song “OK, I’m Reloaded” is no different. The intro starts in the club before ushering listeners into a dome of sound with the walls rattling from some beastly bass.

Listeners can’t escape the immersive soundscape because “OK, I’m Reloaded” flows directly into the more ambient rap track “Psychic Jumper.” The song’s initial lo-fi tone soothes any burns received from the wild punk of the previous tracks before launching into revamped percussion, guiding listeners away from burnout and toward more playful territory.

That territory is the land of singles, as the two singles for the album lie back to back in what may be one of the album’s only flaws. Both singles are enjoyable, but from a listening standpoint, those who have been anticipating this album reach a standstill in the middle of the record with music they’re already familiar with.

That being said, “Incline” is a stimulating track, with the different textures of Nova Twins, Pink Siifu and Yung Skrrt bringing something new to the table after five featureless tracks. It’s a perfect choice for a single, with each feature bringing a unique flavor and playful lyrics to an already bombastic song.

The second single, “Upside Down,” is a great showcase of Ho99o9’s interpretation of metal that relaxes the screamo vocals for a more melodic and emotional vocal performance, helping the lyrics not get lost in the backing track, thanks to the super detailed mixing that holds the album together.

Following the singles, “Tapeworm” — featuring Greg Puciato of metalcore’s The Dillinger Escape Plan — is a genre-shifting, panicky song that keeps listeners on the edge of their seats.

Puciato has a voice made for the auditory acrobatics that this song jumps through and keeps up with the leaps and bounds of its narrative. “Tapeworm” satiates the screamo fans yet still maintains impressive instrumentation and has a fun little breakdown toward the end of the song — though don’t be fooled, this song won’t let listeners off the hook.

Yet another feature follows with “Immortal” featuring Chelsea Wolfe, an artist known for her ethereal vocals. The lightness of her voice pleasantly offsets the grunginess of a track that lets listeners play catch-up as it drags its feet reluctantly to the beat.

The most impressive track on the album, “Immortal” has the percussion of hip-hop and the ambience of shoegaze with the intensity of rock, all tied together with the romantic guitar chords of a The Flaming Lips song. It catches a second wind with a rap verse, and despite the two parts of the song feeling startlingly different, they wouldn’t make sense without each other.

The penultimate track of the album, “LA Riots,” bears the burden of fielding anticipation for the finale and slightly falters beneath the weight. The song has great lyrics and tachycardic drums representing the pain and fear of police persecution as Black men in Los Angeles, but the song itself brings little new to the table after a full album of punk drums and wall-rattling guitar riffs.

Thankfully, “Godflesh” is an excellent finale to an album that begs to be performed live. The intro lets listeners know that Ho99o9 is going to end with a bang before diving headfirst into a classic repetitive rock chorus, screaming “mind over matter” to supplement the paradoxical title of “Godflesh.”

The initial percussion is impressive but not terribly interesting by the end of the album, though some breakdowns make it feel more fit for a finale. As the song ends with an excellent and immersive outro, listeners need to crane their necks to look up at the heights of the guitar and drums climbing the walls.