ALEX REVIEWS MUSIC (ARM): TYLER, THE CREATOR – “IGOR” | 2019-05-26

Provocateur. Jackass. Instigator. Fashion designer. Clown. Cockroach-eater. Enfant terrible. Cheese Danishes lover. Homophobic. Lead odd futurist. Artiste. Prodigal son. Wolf Haley. Misogynist. Influencer. DJ Stank Daddy. Bastard. (Scum fuck) Flower boy. Garçon. Mr Lonely. Gimmick. Fraud. UK and Australia land limits outlaw. Auteur. Punk. Eastern European name adorer. IGOR.

The above are but a filtered bunch of the somewhat one-dimensional and reductive tags Mr Tyler Gregory Okonma, aka Tyler, The Creator, has been subject to pigeonholing with during his career as a solo artist and beyond. The 28-year old Ladera Heights-native rapper, singer-songwriter, and producer has been witnessing nothing short of a stunning chameleonic trajectory as it pertains to both his personal and artistic identity refinement, roughly chaptered alongside a before-and-after moment on this timeline, captured by his tenure at his now defunct trailblazing rap collective Odd Future. Post-OF Tyler, The Creator has then seen his creative itinerary alight at five distinct full LPs preceding his last, IGOR, pivoting and peaking at superiorly lavish Flower Boy station two years ago, an album that still haunts yours truly in the shape of a sacrilege for not having seized the occasion to fully unpack it and review when it came out.

However, pretty much all of the compartmentalising labels and tags thrown at him by both click-bait tabloid and woke media left and right, seem to miss the fact that Tyler is, actually, a fairly old-fashioned and nostalgic twenty-something post-Napster millennial, as much indebted to Roy Ayers and Pharrell Williams as to UK’s own Doves and Nigerian punk-rock. One only needs to pay a tad closer attention than the average to discover how the influential Los Angeleno MC’s cognitive scheme works by employment of rather old-school, anachronistic, and analogue architectures of thinking. Case in point; he still refers to his songs — or any song, really — by calling them by their track listing position, instead of their actual title, denoting a clear reliance on the album as a format and thought processing lens when it comes to music. Or, as a further supporting exhibit, just turn to the prevalent apparel leitmotiv expressed through his clothing brand GOLF, notably inspired by dated run-of-the-mill retro-outfits sported by “old dudes”, in his own words.

Considering the above melting potato salad of misconception, surface-level-judging, creative evolution, latent missteps, and uninhibited self-expression peppered throughout Tyler, The Creator’s multi-artistic career to date, the rather sudden arrival of his sixth studio project IGOR on Friday 17th May was arguably destined by design to be met with a combo of curiosity and excitement. Tyler’s camp managed to squeeze the entirety of the album’s promo and anticipation within two weeks and change, as the rapper’s social media accounts began teasing sonic sneak peaks of less then a minute in length, kicking off with scene-setting “IGOR’S THEME” on 1st May, delivering an hypnotic distorted synth attack chased chronologically by an edgy drum kit, additional layered keys, and the start of a refrain. Similarly formatted snippet clips followed in quick succession, first with the eerie and foreboding lo-fi of “WHAT’S GOOD“, then taking a left spin with the tasty and warm soul of “A BOY IS A GUN“, only to retract to another U-turn with the subsequent “NEW MAGIC WAND” teaser, another big, heavy, violent beat gelled together by a pitch-shifted spine and its quasi-industrial feel.

Unsurprisingly, as we’re dealing with Tyler — and in pure harmonic alignment with the nostalgia claims above —,  IGOR’s tasters ought not be considered as singles to the record in any way, shape, or form. While the former Odd Future honcho did in fact drop a full music video for his schmaltzy, sugary, and delicious tune “EARFQUAKE” on album release day — very much in the spirit of a lead flagship track statement for the whole record — he actually saw fit to publish so-called listening instructions for fans to heighten their proper engagement with the record as Tyler meant it to be. These include memos reminding listeners that “This is not Bastard. This is not Goblin. This is not Wolf. This is not Cherry Bomb. This is not Flower Boy. This is IGOR. Pronounced EEE-GORE.” and, most crucially, crossing Ts and dotting Is around pre-conceptions: “Dont (sic) go into this expecting a rap album. Dont (sic) go into this expecting any album. Just go, jump into it“.

Thus, in his defence, we can’t say we weren’t warned. And oh (flower) boy were those instructions predictively on point. This thing is as much a fuzzy R&B/funk soufflé as it rocks an abstract hip-hop flair, only if it were almost exclusively inspired by low-fidelity Neo-soul crooner-ish songwriting. I haven’t actually measured it so don’t quote me on that, but it’s probably safe to say that true blue MC bars don’t make up even half of IGOR’s total runtime of just about 40 minutes. Now, if Flower Boy were to be employed as some kind of MO trend indication in this sense, this shouldn’t struck as an inconceivable surprise. Notwithstanding this, IGOR isn’t simply a natural and evolutionary step forward in Tyler’s production, arrangement, and songwriting patterning. It’s more like a transverse 180· reboot, milk-shaking much of what he’s been (here’s looking at you, Wolf and Cherry Bomb), mixed with the holistically creative vision behind Flower Boy on steroids, and just a sea of pitch shifting effects. More than any of its predecessors, IGOR is a Tyler, The Creator statement of identity, intent, and emotion.

Counterintuitively, the project is in fact a mighty who’s-who concerto of features, collabs, and co-signs, yet its album art sleeve is here to heartily remind everyone that everything was written, arranged, and produced by the Tyler himself. Playboi Carti (“EARFQUAKE”), Lil Uzi Vert (“IGOR’S THEME”), Solange (“I THINK”, “A BOY IS A GUN”, “I DON’T LOVE YOU ANYMORE”), Kanye West (“PUPPET”), Jerrod Carmichael (interludes MC and wisdom spreading impresario), Santigold (“NEW MAGIC WAND”, “PUPPET”), La Roux (“GONE, GONE/THANK YOU”), CeeLo Green (“GONE, GONE/THANK YOU”), Charlie Wilson (“EARFQUAKE”, “I DON’T LOVE YOU ANYMORE”), Slowthai (“WHAT’S GOOD”), and Pharrell (“ARE WE STILL FRIENDS?”) are only a selected few among the helping hands Tyler reached out to for the execution of the project, however no single one was deemed deserving and functional enough for an actual track-level display credit in the eyes of our favourite garçon.

Following a line of thinking warranting a full and overarching body of work appraisal, rather than a track-by-track surgical dissection of its fragmental building blocks, IGOR comes across as a bona fide example of an artistic whole being so much more than the mere sum of its compositional parts. It’s no coincidence Tyler or anyone at Columbia Records didn’t feel like spraying outward a single cut months ahead of the full LP release to entice the audience while at the same time canvassing a fairly representative sonic picture of what the full collection of songs was going to be. That would’ve in fact been a fool’s errand, whether we or Tyler like it or not. For one, perhaps paradoxically, no single track is in fact strong enough to exist autonomously and self-referentially (although the serene, catchy, and come-undone-revealing “RUNNING OUT OF TIME” comes close to that), a notion that with 20/20 hindsight was predictably anticipated by Tyler’s out-of-the-box instructions for use above. Furthermore, on a more mixing/production level of analysis, virtually all track transitions are established by continuous fade in-and-outs, doctoring a unique and uninterrupted listening experience from beginning to end.

What’s more, and quite in juxtaposition to the self-indulgent mission statement of the record, on IGOR Tyler is seen wearing many of his most explicit artistic influences proudly and confidently on his sleeves, to an extent where at times one couldn’t be condemned for thinking that this project was more of a compilation joint, rather than a concept art piece where the source artist acts as the be-all and end-all of its full craftsmanship. Note how his somewhat unrequited love for R&B/Soul blossoms on songs such as the aforementioned “EARFQUAKE”, the confessional and loaded “A BOY IS A GUN”, and perhaps most predominantly on the inquisitive and climaxing album closer “ARE WE STILL FRIENDS?“. Kanye West, on his part, shows up both on wax (on vulnerably desperate number “PUPPET”) and as a conceptual reference point: indie-garage derivative track number three “I THINK“s main melodic chords progression sounds just like a “Stronger” cutting-room floor residual demo from 2007. Plus, lest we forget, this whole entire thing has got Pharrell Williams written all over it.

Lyrically, IGOR is recounting a tale arc made of romanticism, love, attraction, rejection, confidence, insecurity, resentment, identity, and acceptance, although it’s extremely hard to put one’s finger on what cut exactly expresses what feeling. Almost as if by careful engineering intent, it’s only with the full twelve tracks under one’s belt and inside one’s brain that the listener can begin to make heads or tails of the bird’s eye view narrative carved into this project’s ethos. When thinking back at specific emotions or cognitive landscapes perceived while sucking up its content, it’s rare that a single song off IGOR is truly capable of doing full justice to the specific feeling conveyed. There is almost a sense of performative uncertainty — or perhaps hesitation — to the scatterbrained itemised musical brushes encapsulated in the twelve distinct-yet-unified vectors that make up IGOR. This might support the evidence around the lack of a real lead single, or even a typical radio-friendly verse-chorus-bride songwriting structure. Instead, in order to funnel a kaleidoscopic, heterogeneous, and contradictory story, with IGOR Tyler was forced to resort back to the comfort of his artistic cognitive infrastructure more than ever, counting on only those few reference points he’s always been faithful to (hence why track number ten “GONE, GONE/THANK YOU” still has a two-songs-for-one structure, as with all his previous full-lengths).

It’s probably still too soon — or actually too late — to measure the impact of single tracks over the full body of work under scrutiny here, as it would admittedly and arguably be an exercise dead on arrival. The risk of not seeing the forest for the trees would be too high. But also, there is a suspicion lurking that Tyler knew it all along. That is, in the above mentioned listening instructions, he also writes: “As much as I would like to paint a picture and tell you my favourite moments, I would rather you form your own“. What better way to spill the beans upfront, revealing that there are in fact no such individual favourite moments, for this project is strictly meant to be digested as a whole unified and interoperable hodgepodge?

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.

AV

TYLER, THE CREATOR

“IGOR”

2019, Columbia Records

https://www.golfwang.com

tyler-the-creator-igor-1250x1200

TTC_IGOR2

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ALEX REVIEWS MUSIC (ARM): KEVIN ABSTRACT – “ARIZONA BABY” | 2019-04-27

Feed me anything stemming from the BROCKHAMPTON universe and I shall gravitate towards it like ducks to water. This predicament has held true pretty much every since the Texan boy band stormed onto the global music scene in 2017 and began turning a lot of incredulous heads as it went on to release its magnum opus Saturation trilogy within the span of a little more than six months. The fact that this latest project baked out of the hip-hop collective’s factory is earmarked by its founder and leader Kevin Abstract does nothing but add substance and critical mass of intrigue to the whole shebang. This is partly because noblesse oblige, but arguably more so due to the rapper/singer-songwriter having had to deal with a past twelve calendar months full of exterior dismissals, periods of self-doubt, and indirect solitary confinement while the boy band fulfilled the cumbersome release cycle around their ambitious fourth studio effort iridescence. For those of you not in the know, let’s just say that Kevin’s contribution to BROCKHAMPTON as of late wasn’t exactly a spotless and wholesome embrace on the part of audience and critics, with the advancement of more or less aggravating accusations ranging from him having lost any faculty of adding real value to the group’s new music to head-on reprimands of acting as entitled prima donna choosing deliberately to dim away from the creative limelight of the artistic project.

Needless to say, Mr Abstract must have had more than a few things to get off his chest. Acting as the group’s prodigal son — and by unfortunate curse of it, its scapegoat — while at the same time elbowing its way to cut through the cultural discourse of a more often than not bigot and retrograde society as a young black queer millennial can’t ever be understated.  However, the above are not the only reasons worth justifying a fiery engagement by way of heightened enthusiasm with Kevin’s latest third studio LP ARIZONA BABY. For one, his last solo project American Boyfriend: A Suburban Love Story (2016) proved to be a sensationally pretty and beautifully crafted body of work, all the while carrying enhanced lyrical and thematic value captured with a maturity certainly not evident for someone who had barely turned twenty years of age. So, after the exploit of a lifetime experienced on the BROCKHAMPTON trajectory, including a groundbreaking major label deal with RCA Records earlier last year, an inevitable soaring curiosity ensued to accompany the anticipation around his follow-up. Thankfully, Kevin did not disappoint. For starters, it’s not like the Texas-native and autotune-aficionado ever even properly announced the arrival of ARIZONA BABY, rather opting for semi-official hints of random album art renditions, scattered spring dates, and improbable Lana Del Rey shoutouts.

Let us try and make some order of the unfolding of events here. Firstly, it wasn’t until the 8th April that we got unequivocal indications pointing at new music from the MC, as Kevin dropped a music video for what turned out to be the first taster ‘single’ off the new project, coming in the form of an anxious and grinding minute-and-half Outkast-inspired bouncer called “Big Wheels“. Then, a few days later on 11th April, the BROCKHAMPTON crooner saw fit to drop a three-track single format pretty much without evidentiary explanation, simply dubbed ARIZONA baby. The bundle included the aforementioned lead cut, the lavishly carnivalesque “Joy Ride“, and the tear-inducing singalong stunner “Georgia” (whose sticky and sappy refrain “I got Georgia on my mind, ain’t nobody left behind / It’s just me, my team, my weed, my baby’s Audi parked outside / Call my mom and let her know that everything is alright” will live on for years on end already sounding like a classic). A mere week after that, it was time for Ghettobaby the EP, featuring all three above mentioned records with the same track listing order and the addition of three more. His native Texas hometown namesake “Corpus Christi” at number four is a stripped down palm-muted guitar-led intimate reflection on his past, while the Ryan Beatty-assisted “Baby Boy” stands hands down as one of the high points on the whole project, more so than the confusingly dull hodgepodge “Mississippi” that rounds up the EP. On “Baby Boy”, everything from its groovy and rhythmic verse laments to the irresistibly enchanting chorus as well as the clever instrumentation choice (incl. climaxing larger-than-life synths and warm sax lines) make for one of Kevin’s most well-rounded and wholesome tracks to date.

So at this point we were serviced with a pseudo-single with three loosely collated cuts and an accompanying EP sporting said three songs and a bunch more. Meanwhile, to many’s relief and excitement, the Los Angeles-based MC started dropping hints that what we were bearing witness to was in fact a gradually phased roll out for what was in fact his complete third studio full-length ARIZONA BABY (flashbacks to Denzel, anyone?). And then, fiercely defying industry release protocol norms, on Thursday 25th April the LP eventually saw the light of day, revealing a 11-strong tracklist — including all six previously unveiled cuts, shockingly — and supplying a little more than half-hour runtime of material. Moreover, on release day, the Abstract camp unleashed a brand new lead single and associated music video for “Peach“, at number eight on the tracklist. The joint is a gentle reverb-soaked acoustic tale of empowering self-discovery (“I ain’t sign up for no bullshit / I told my baby that I’m bulletproof / Mans made me take two sips / All things I couldn’t do“), and the video sees Kevin teaming up with not only most of the BROCKHAMPTON crew, but also introducing the raw up-and-coming performing talent of Florida singer Dominic Fike to the large rap collective’s audience. On here Dominic is in charge of lending the song’s chorus a lovely and delicious motif that is surely going to gratify numerous fireside chants this coming summer (“I’ll be your baby doll and your bodyguard if you tell me to / I’ll try to make it all not as hard if you let me through“).

Now, after having sat with the full collection of songs for a while, let me say this whole thing comes across as an extremely versatile and layered concept, one that I can already predict will hold a wealth of replay value and unpacking carved into its DNA. On the one hand, this record displays Kevin’s pristine pop sensibilities like no other before, presenting some of the catchiest and strongest tunes he’s ever written. On the other hand,  too often one finds themselves wondering how on earth to make heads or tails for many of the songs, with power-pop super producer Jack Antonoff (of Bleachers fame) and BROCKHAMPTON’s very own Romil Hemnani’s mixing and sound architecture shamefully overwhelming the listener into self-indulgence. Unfortunately, some of the tune’s intentions fail to stick their landing, too. Take for instance track number seven “Use Me”, namely an effective gospel-channelling joint at first, only to transmute into a wishy-washy melting pot of doctored sounds that serve no real purpose other than withdrawing the track’s sense of direction from its promising start. Similarly, the ninth song on here “American Problem”, notwithstanding its personal, praiseworthy, and noble thematic commitment, drowns figuratively in auto-tuned pitch-manipulation leaving a lot to be desired on many fronts, though mainly compositionally and delivery-wise.

While ARIZONA BABY swaggerish curtain caller “Boyer” funnels pound for pound the BROCKHAMPTON’s Saturation era aesthetics playbook — with its quirky beat and frenetically glitchy flow — it’s moments like penultimate track “Crumble” that both elevate the full body of work on show here to heightened artistic horizons, and act as reminder that crafting potent emotional gems leveraging gnarly genre experimentation is precisely Kevin Abstract’s wheelhouse. This song has everything we’ve come to love about his raw and honest songwriting brilliancy, coupled with ingenious authoring design, pulling collabs and co-signs straight to wax from all heavyweights involved with this record. Case in point, Dominic Fike’s once again infectiously harmonious licks early on in the track, Jack Antonoff’s distantly spacious so-called ‘chorus’, and Ryan Beatty’s subtle second-voice additions to the bridge. Even though it’s arguably the shaky reverberated acoustic guitar that lends the tune its heart-shattering delicacy, while simultaneously providing a bespoke sonic mantel to wrap up the intense sentimental energy of the song from cradle to grave.

Surprise surprise, this is Kevin Abstract’s most intimate and vulnerable record, outward-preaching and inward-internalising conceptions of empathy, compassion, emancipation, achieving an overall crisp sense of catharsis while doing it. The realisation that this comes in form of a motley melting pot of genres (rap, R&B, pop, jazz, indie-rock are all at home here), styles, sounds, and aesthetics, is secondary to the sublime principal mission statement of firing back at the world in the manner Kevin is known to do best: superior rite-of-passage songwriting.

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.

AV

KEVIN ABSTRACT

“ARIZONA BABY”

2019, Question Everything Inc / RCA Records

http://arizonababy.world

KA_AB

ALEX REVIEWS MUSIC (ARM): ALBUMS OF THE YEAR 2018 | 2018-12-20

AAL_2012 A.A.L. (AGAINST ALL LOGIC) – 2012-2017 (OTHER PEOPLE)

Buy it here.

 

August-Greene-Album-Cover-Full AUGUST GREENE – AUGUST GREENE (AUGUST GREENE LLC)

Buy it here. Read the ARM review here.

 

TheFever333_MAA THE FEVER 333 – MADE AN AMERICA (ROADRUNNER RECORDS)

Buy it here. Read the ARM review here.

 

pusha-t-daytona-artwork PUSHA T – DAYTONA (G.O.O.D. MUSIC)

Buy it here.

 

KIDS SEE GHOSTS KIDS SEE GHOSTS – KIDS SEE GHOSTS (G.O.O.D. MUSIC)

Buy it here. Read the ARM review here.

 

TA13OO_FINAL_ALBUM_COVER DENZEL CURRY – TA13OO (LOMA VISTA)

Buy it here. Read the ARM review here.

 

Paul-McCartney-Egypt-Station-Album-Cover-web-optimised-820 PAUL MCCARTNEY – EGYPT STATION (CAPITOL RECORDS)

Buy it here. Read the ARM review here.

 

BH_Iridescence BROCKHAMPTON – IRIDESCENCE (RCA RECORDS)

Buy it here. Read the ARM review here.

 

181112-jid-dicaprio-2-album-cover JID – DI CAPRIO 2 (DREAMVILLE RECORDS)

Buy it here. Read the ARM review here.

 

 EARL SWEATSHIRT – SOME RAP SONGS (TAN CRESSIDA)

Buy it here. Read the ARM review here.

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time. And happy holidays this time around.

AV

ALEX REVIEWS MUSIC (ARM): BROCKHAMPTON – “IRIDESCENCE” | 2018-09-24

Now that Notes from Barcelona – the Punktastic-hosted featured column series about the alternative/heavy live music scene in the Catalan capital – has finally pulled its editorial curtains and wrapped up a wonderful twelve-months of steady correspondence, expect this site to get even more flooded and infested by fierce jazzy music reviews, in addition to perhaps scattered musings and banters regarding books, TV, and cinema content here and there. For this reason and with this premise, partly because noblesse oblige, partly because of the topical relevancy of the significant subject matter, some time and space ought to be devoted to a recently released album which is almost too big to fail (and therefore ignore). What I’m referring to is none other than Sir Paul McCartney’s latest and 18th enthralling studio album Egypt Station, an opus work of art masterminded by influential and skilled producer Greg Kurstin that has unconditionally and inevitably been on heavy rotation on EMS’s playlists and mixtapes, almost exactly ever since its release on the past 7th September. Yet at the same time, conflictingly, the team here (?) is wholeheartedly, platonically, and consciously aware that one can’t simply review a Macca album as if it were nothing and just get away with it. Some appraisal tasks are bigger than one’s self, and with recording and performing acts like the Beatle par excellence, there simply comes a point where he transcends whichever semiotic symbolism (read: language, words) critics and reviewers might opt in to use in order to attempting at describing inherent artistic virtues, or lacks thereof, of any given creative endeavour by Sir Paul.

With that being said, the only thing I’d like to highlight and stress out, before embarking onto the actual music unit of analysis of the present critical assessment piece, is that the way Paul McCartney crafts and produces compellingly honest and raw storytelling through ornamented and layered melodies still goes unmatched. Much like a modern day raconteur or peasant minstrel distributing wisdom to his fellow villagers via insightful passages, Paul’s ability, or rather virtue, to construct simple yet universally addressable messages by way of simply-packaged and digestible power pop narratives is extremely sticky, and gains intrinsic value by the listen and by proxy of shared experiencing. Case in point, the tear-inducing and heart warming sly confessional of “Happy with You“, or the gracious and harmonic aesthetic of the very Beatles-esque “Dominoes“, all the way to Egypt Station’s more contaminated, experimental, and slightly left field cuts “Back in Brazil“, “Despite Repeated Warnings“, and album closer “Hunt You Down / Naked / C-Link“. No, ladies and gentlemen, I shall repeat myself, this isn’t a review in any shape or form, but just a testament of adulation to the biggest songwriter of our time and to his ability to instruct us all as to how to make sense of the world around us, almost since the world itself began, as Rolling Stone kindly points out when blasphemously reviewing the record: “Make a list of all the songwriters who were composing great tunes in 1958. Now make an overlapping list of the ones who are still writing brilliant songs in 2018. Your list reads: Paul McCartney. Sixty years after ‘Love Me Do,’ his legend already inviolable, Macca keeps adding new gems to his songbook, with nothing to prove except he’s the only genius who can do this“.

Now, the main LP getting dissected and scrutinised in this article actually has more in common with Paul and the Beatles ecosystem than one might imagine at first. Yes, because sensational rap/hip-hop collective BROCKHAMPTON’s fourth album iridescence was in fact recorded and produced at London’s Abbey Road Studios in just ten days, and no one needs reminding how that is linked to the Fab Four. So let’s not kid ourselves and act as if this isn’t a big deal. BROCKHAMPTON, the hardest working boyband in show business and arguably the biggest revelation to come out of 2017’s Western underground/indie/DIY artistic underbelly, conceived their incredibly highly-anticipated (and frequently retitled) follow up to the fantastic and critically acclaimed Saturation trilogy inside The Beatles’ legendary creative hub, and no one bats an eye? Well, in fact, many did bat an eye and because of that, many a stories came out in the run up to the album drop on 21st September, all fuelled by a wide variety of juicy, noteworthy, and controversial discussion topics, ranging from the queer group’s revelation and stellar rise last year to the unfortunate and regrettable exit of key core member Ameer Vann earlier this Spring, following a wealth of sexual abuse allegations put forward against him. What’s more, iridescence appears to be the first sonic instalment of yet another artistic trilogy dubbed The Best Years of Our Lives, to be issued by RCA Records (via their own production house Question Everything) after the Kevin Abstract-executively produced mega-group signed a much talked about deal with the Sony-owned imprint in March this year.

To be absolutely frank, the winding bias coefficient is not lost on me when approaching the artistic critical assessment of the fourth album of a performing act whose previous three full-lengths all featured in this site’s AOTY end-lists, during the same year. Nonetheless, the skilled and mixed race group’s influence and impact on the contemporary creative zeitgeist make for a kaleidoscopic perceived urgency that exists beyond any contributor’s personal preferences and warrants a judicial scrutiny all the same. Clocking in at just short of 50 minutes, and sporting a solid 15 tracks (including one and a half skits), iridescence kicks off with a grand slam in the listener’s face, with the fiery, hypnotic, and dingy “New Orleans”, sourcing top-notch deliveries by two of the boyband’s premier MCs, Dom McLennon (“When I die, these words gon’ need separate caskets in a hearse / I don’t rhyme, I freeze time and let these hands just do the work / I’m in tandem with my curse, going manic since my birth / See this canvas as I planned it, I’m commanding with my nerves“) and Matt Champion (“Bustin’ out the function, highly comfortable / Got this hot ting on my body, man my sweat lethal / Sweet kisses like the candy out the carnival / I’ma call my own shots, hit the audible“). After an unbelievably smooth and streamlined transition into what sounds like a Saturation-era-leftover, “Thug Life”, a powerfully dense trio of crunchy, distorted, and hectic cuts takes centerstage in this first half of the LP (“Berlin”, “Something About Him”, and “Where the Cash At”), lending a little too much messiness, although coupled with wonderfully intricate and layered vocal melodies, to the overall aesthetic. That said, the band’s mixing and mastering wizard Russell Boring aka JOBA’s outro on “Berlin” especially, is superior melodic songwriting, one that in the specific context of the moments of its happening takes the listener into a superlatively sweet, tender, and lucid direction after the intense and overwhelming sonic vortex populating the rest of said number.

“Weight” at number six on the playlist is an outstanding piece of compositional craft that virtually ticks all the boxes of best-in-breed modern hip-hop hit making, while at the same time marking a clear and distinct departure from the rap collective’s Saturation trilogy-universe: sound, theme, lyrics, production, delivery, structure, and flow. You name it, this song kills it. Moving on, the radically experimental and at times identity-less “District” wraps up side A of iridescence, glued together to its sister face by gorgeously pleasant filler “Loophole”, before diving into the grandiose and eerily dark-sounding and Radiohead-sampling “Tape” (on this one, take a moment to appreciate Kevin Abstract’s, JOBA’s, and Matt Champion’s damn fine flows and deliveries). Notwithstanding BROCKHAMPTON leader’s Twitter PSA warning, “J’ouvert” at number ten is the closest thing to a promotional single this project has got, and regardless of whether one wants to believe him or not, what a wonderful and striking choice that it. Everything from its tongue-in-cheek sound catchiness to each MC’s flawless vocal delivery, passing through the raucous, dangerous, and incendiary mood permeating the song throughout, “J’ouvert” hands down makes for one of the group’s most accomplished and astonishing tracks to date. What follows, “Honey”, is doubtlessly album peak to me, a stunningly creative and catchy patchwork that makes three minutes and change go by as if they were mere seconds. On this joint, heightened lyrical poignancy (“My people still dry snitchin’ whenever they touch the mic / That’s what happens when a therapist isn’t somewhere in sight / Take flight, never leaned to the left or the right / ‘Cause they turn the other cheek when our ni**as start to die“) gets coupled with fun and daring beats (that go as far as self-sampling Saturation’s chopped and screwed blasting gem “Bump” into a successfully reworked plug-in), but what takes this number up a millions notches is the unbelievably dreamy and heavenly elevating outro – or rather, second half – kicking in at about 1:35. Outta sight.

Across its final four tracks, the album isn’t able to match its top crown-y moments, unsurprisingly so given how much quality material is to be found distributed across the previous eleven cuts. Regrettably, the pale yet weird and chaotic “Vivid”, as well as dull and reductive album closer “Fabric”, lower the overall masterwork-status average of this record, only to be moderately counterbalanced in this late section by the stunningly robotic ballad “San Marcos” – curiously and un-intuitively inspired by the Goo Goo Dolls, still according to frontman Kevin Abstract – and previously unveiled lush and swanky tell-all dashboard confessional “Tonya”. All things considered, this major label debut and first instalment in the Best Years of Our Lives trilogy by the Texas-formed, LA-based collective represents a major flag in the BROCKHAMPTON career’s reign, a pivotal artistic landmark cradling inspired and gorgeously experimental sonic territory, forcefully navigated with the absence of a key founding member, but with a wealth of additional wisdom, depth, confidence, and virtue accompanying every steering turn and beat switch. iridescence is a fierce and dead serious candidate for a ton of further AOTY lists to come and a crystal clear conceptual delineation that the boyband isn’t comfortable simply resting on their Saturation laurels. Suddenly it doesn’t seem too crazy that, given ten days locked away in a quintessential Beatles reign creating on a 24/7 rotation basis, BROCKHAMPTON too might be eligible for the aforementioned Rolling Stone qualitative reasoning that worked so well for Macca. At least for now: “Make a list of all the songwriters who were composing great tunes in 2017. Now make an overlapping list of the ones who are still writing brilliant songs in 2018. Your list reads: BROCKHAMPTON”.

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.

AV

BROCKHAMPTON

“IRIDESCENCE”

2018, Question Everything Inc.

http://www.brckhmptn.com

BH_Iridescence

ALEX REVIEWS MUSIC (ARM): ALBUMS OF THE YEAR 2017 | 2017-12-22

prisoner_ra RYAN ADAMS – PRISONER (PAXAM RECORDING)

Buy it here. Read the ARM review here.

 

CWK_LADivine COLD WAR KIDS – LA DIVINE (CWKTWO CORP.)

Buy it here. Read the ARM review here.

 

KDot_Damn KENDRICK LAMAR – DAMN. (AFTERMATH/INTERSCOPE)

Buy it here.

 

ATDI_Inter Alia AT THE DRIVE IN – INTER ALIA (RISE RECORDS)

Buy it here.

 

68_TwoPartsViper ’68 – TWO PARTS VIPER (CHARIOT MUSIC, INC.)

Buy it here.

 

BH_Saturation BROCKHAMPTON – SATURATION (QUESTION EVERYTHING, INC.)

Buy it here.

 

VS_Big Fish Theory VINCE STAPLES – BIG FISH THEORY (DEF JAM RECORDINGS)

Buy it here. Read the ARM review here.

 

Tyler_FlowerBoy TYLER, THE CREATOR – FLOWER BOY (COLUMBIA RECORDS)

Buy it here.

 

BH_SaturationII BROCKHAMPTON – SATURATION II (QUESTION EVERYTHING, INC.)

Buy it here.

 

BH_SaturationIII BROCKHAMPTON – SATURATION III (QUESTION EVERYTHING, INC.)

Buy it here. Read the ARM review here.

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time. And happy holidays this time around.

AV

ALEX REVIEWS MUSIC (ARM): BROCKHAMPTON – “SATURATION III” | 2017-12-16

It’s been almost an astonishing six months since the last ARM instalment saw the light of day on top of these frequencies, which might as well be the longest gap ever as far as this page is concerned, but hey who’s counting really. Undoubtedly, this is mainly due to the orbital enterprise partnership recently undertaken by yours truly with almighty online music zine Punktastic, which has kept me fairly (and fairy to be fair) busy throughout the latter half of 2017 and materialised itself in form of the ongoing Notes From Barcelona column series. While it’s certainly true that I kept being tested and teased by music gems over time, each one asking me to find some time to draft up a speedy ARM review here and there (see Tyler, The Creator, The Killers, The Front Bottoms, and J Roddy Walston & The Business as main perpetrators), I was kind of waiting for the truly right release to drop and thoroughly steal me back into ARM mentality. So what better way to resurrect the instalment than the third album of an annual trilogy dropped by a boy band literally unknown even a year ago? Enter and welcome BROCKHAMPTON‘s Saturation III.

BROCKHAMPTON is a Texas-raised, Los Angeles-based hip-hop collective sensation – declaring to be preferably referred to as boy band – founded three years ago, primarily by a bunch of lively nerdy teenagers chatting on Kanye West tribute Internet forum KanyeToThe. What the 14-member strong boy band has achieved this year is nothing short of incredible, releasing three (!) full length LPs among a multi-media artistic trilogy called Saturation. That is, after their 2016 free mixtape All-American Trash, in 2017 alone the virtuoso Texan minstrels have undergone a terrific one-two-three album release constellation, with their debut record Saturation out in June, its follow up Saturation II released in August, and the very subject of this review Saturation III out on their own record label Question Everything just a day ago on 15th December.

By effect of the above, esteemed readers please be conscious that this is inevitably as much a review of Saturation III as it is of their whole gianormously epic Saturation fatigue, a go-to-market creative decision pretty much unprecedented in mainstream hip-hop music, as far as I’m concerned. Admittedly, I wouldn’t be undertaking an analysis of BROCKHAMPTON’s latest musical effort – and what an effort – if it weren’t for the Internet’s busiest music nerd The Needle Drop and his unbelievably favourable reviews of both Saturation and Saturation II. The notoriously harsh and commonly feared influential online music critic not only opened me the starry and pearly gates to the BROCKHAMPTON’s universe, but at the same time he also referred me to the boy band’s leader Kevin Abstract’s stunning recent solo album American Boyfriend: A Suburban Love Story by sharing related content on Twitter, a record which to be fair would be owed a separate and fully dedicated ARM review for itself. These two (well, three to be exact) sonic lightning strikes combined out of the blue led me to a deep, long, and tempestuous quest to becoming borderline obsessed with any thing to do with the California-stationed street posse.

This infatuation of mine with BROCKHAMPTON and particularly its lead members, fronted by the aforementioned mastermind Abstract and key member rappers Ameer Vann (doubling as album artwork-model for the Saturation series), Merlyn Wood, Dom McLennon, and Matt Champion, got stronger and stronger as I progressively discovered how fresh, avant-garde, modern, and digital-first their whole entire definition of a boy band is. Yes, because BROCKHAMPTON isn’t merely composed of singer-songwriters and musicians, their understanding of boy band extends to include producers, graphic designers, web developers, artistic directors, and even tour managers, as wonderfully and hilariously mapped out in their VICELAND TV mini-series American Boyband. No other contemporary artist – let alone vast hip-hop outfit – has in my opinion been able to capture the essence of being a modern-day, self-sustained, multi-media act in control of their own destiny better than these guys scattered in a huge old house in South Central, Los Angeles, manufacturing and shipping one convincing delivery after the other with literally no one else to interfere with their business or artistic ambitions.

It’s essentially amongst the above premises that I enthusiastically and frantically awaited for the third and final chapter in the Saturation trilogy to drop the week before Christmas eve, certainly not without some kind of an aura of mystery due to an early December promotional tweet by the group announcing that Saturation III would not only have been the last of their epic Saturation saga, but even their last studio album as BROCKHAMPTON altogether (only to be cryptically dismissed by Kevin Abstract in a later promotional interview with Zane Lowe on Apple Music’s Beats 1 radio show). The first piece of music off Saturation III delivered to the public was its first groovy, intense, and elastic single “Boogie“, dropped just three days before album release alongside an enigmatic and convoluted short-movie called “Billy Star“, directed by none other than Kevin Abstract himself – who by the way conducts all music videos outputted by the BROCKHAMPTON factory – and crafted by the whole boy band. But there’s more. Shortly after the release of “Billy Star” the 22-minute short-movie, Kevin Abstract announced with a tweet that a full-length motion picture release for the same franchise is in the works with proper distribution in movie theatres. Talk of literal saturation of the market.

Wonderfully along those lines, Saturation III’s release day was truly nothing short of amazing, with not only the new 15-track record hitting the world’s airwaves for the first time in its full length, but the parallel release of a native smartphone app providing a ‘unique live audio experience’, as well as the almost unbelievable announcement of indeed a fourth studio album (!) coming out in 2018. Early listening experiences of the last Saturation-era LP were thus inevitably tainted with feelings of incredulity, admiration, and excitement. After having allowed enough time and repetitive spins to flush away any potential threat of biased judgement, the album certainly strikes as a fitting and well-rounded culmination and wrap up of the release marathon undertaken by BROCKHAMPTON this year. Even though both tracklist and running time have progressively decreased throughout the Saturation release cycle, the boy band still decided to play with numerous skits – all delivered in Spanish for the occasion by BROCKHAMPTON’s web developer member Robert Ontenient – as well as a slower, guitar chords-driven, mellow album closer (before Saturation III’s “Team”, it was “Waste” in Saturation and “Summer” in Saturation II) for the last instalment of the series. Another interesting parallel format across the three LPs is the inclusion of a gorgeous quasi-interlude/half-song towards the former section of the record, as exemplified by the dreamy and melancholic “2Pac” in Saturation, the sombre and raging “Teeth” in Saturation II, and the tell-all and introspective “Liquid” in this latest drop.

This almost mechanical reproduction of thorough art schemata is clearly something that the crew studied and achieved meticulously (no wonder the boy band labels their home-turned-recording studio the “Brockhampton Factory”), as in addition to the aforementioned recurring tracklist patterns, one could easily notice how all song titles within their Saturation trilogy were reduced to one single word with incremental numbers of letters with each new album released, with every last song on each record hinting at the increment that’s to come. That is, Saturation only contains 4-letters titles, Saturation II tracks have five letters, while Saturation III’s songs are all six letters long except for album closer “Team”, going full circle returning back to the first chapter’s title policy. But wait, there’s more. Remember how every last song on each record hinted at the next one and also how I said earlier that BROCKHAMPTON has already announced a new album for 2018? Well, guess what its working title is supposed to be? Team Effort. Pretty remarkable wordsmiths the young muchachos.

Saturation III to me is an album of dichotomies, juxtapositions, contradictions, much like the whole boy band at large. The record entails in my opinion some of the best and most forgettable cuts of their entire trilogy, with an overall approach that defines itself by less immediate tracks than its two precedents, but arguably bigger and more sophisticated productions as well as more convincing and distributed flows and deliveries by the group’s rappers/singers. On the negative side of the spectrum of juxtaposition I place songs like “Zipper” – which unofficially became Saturation III’s third single through the release of a music video for the track via their app – as well as “Stupid”. The former definitely feels too out of place on this record and would’ve perhaps found a more fitting environment on the G-funkier and exotic sounds of Saturation II, given that its impact simply feels too redundant following up the already siren-y, dense, groovy, and layered “Boogie” as second track on the record. The impression I get from “Stupid”, instead, is that the composition really tried to stay true to its title by leveraging trivial and at times irritating melodies and flows, not mentioning the slightly annoying and underwhelming refrain (“Boys wanna play with my cell phoneBut I don’t want nobody to see what’s in it“).

On the other hand, at the other end of the quality spectrum of Saturation III we find some of BROCKHAMPTON’s best songs ever, such as the gorgeous and heart-wrenching “Bleach”, with honourable mention of the outstanding and incredibly impactful lyrics (“They said do you make mistakes or do you make a change? / Or do you draw the line for when it’s better days?”); the weird, wonderful, and experimental “Sister/Nation”, perhaps the song in which BROCKHAMPTON’s versatility and artistic contradictions shine most; as well as the album’s second single “Rental“, the track chosen by the boy band as visual wrapper for the trilogy, and to me the one where they truly became a boy band in the traditional sense of the word, whereby even OG rapper Matt Champion mellows down with softer harmonic melodies. To this bucket entailing the best moments of Saturation III I can’t not include the magnificently contagious and visceral first single “Boogie”, in my opinion the most convincing single/teaser to a BROCKHAMPTON record alongside Saturation’s “Heat“.

In-between the quality bi-polarism of Saturation III there are a number of still sensational and unique cuts, such as “Johnny”, “Hottie”, and “Stains”, and truth be told this is the real chunk of tracks that actually have me realize how much of a beautiful holistic artistic oddity this group has been this year. Yes, because I feel like sometimes what are to be labelled ‘average tracks’ on a given album are in fact a much better and more reliable indicator for evaluating the overall musical impact of that record, and in BROCKHAMPTON’s case they are still sounding better and fresher than almost anything I’ve heard all year. Yet ‘average’ isn’t a word that ought to be associated with the Los Angeles-collective in any shape or form, given its composition of mixed race, queer, multi-disciplinary, and outstandingly talented members. It’s no wonder, with something this special, that with their Saturation multi-media album trilogy BROCKHAMPTON have accomplished one of the most uniquely defining moments in recent hip-hop history.

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.

AV

BROCKHAMPTON

“SATURATION III”

2017, Question Everything Inc.

http://www.brckhmptn.com

BH_Saturation 3