It’s JPEGMAFIA as we think we know him; wild and confusing, but with maybe just a little more clarity emerging
After Scaring The Hoes with Danny Brown last year, one of modern rap’s premier experimentalists returns with perhaps his most accessible album to date. Now, he’s hardly gone and made a pop-rap album, there’s still all the hallmarks of his frenzied production style. Peggy’s music has always felt like a reflection of the social media age; a relentless assault of disparate stimulants all fighting for attention. And he can’t help but get caught up in the drama of it all; he’s typically confrontational; taking aim at online critics and fans alike.
As he addresses the likes of a mini beef with Freddie Gibbs and accusations of hypocrisy for his decision to work with Kanye earlier this year, his lyrics can cross over into overly defensive and self-indulgent. But there’s still plenty of thrills delivered in his trademark beat switches, as crunching hard rock clashes with throbbing bass beats, right into pitched-up soul smoothness. Those switches aren’t quite as manic as usual; the chaos is a little more controlled and it gives everything a little more room to breathe.
That really pays off in the album’s later stages as he turns his attentions inwards; checking himself for his terminally online habits and addressing his relationships with women and drugs. The self-reflection is mirrored with the album’s gentlest moments; touches of dream pop and psychedelia contrasting the earlier aggression.
The use of Wendy Rene’s After Laughter (otherwise recognisable as the backdrop to Wu-Tang’s Tearz), switched up in signature style, on Exmilitary feels symbolic of a subtle shift. This is still JPEGMAFIA in all his innovative and confounding glory, but there’s increasingly heavy hints of a more classic and, dare I say, mainstream sound emerging.
Rating:

Best tunes: SIN MIEDO, don’t rely on other men, either on or off the drugs, Don’t Put Anything On the Bible
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