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Artist – Brockhampton

https://en.wikipedia.org/wiki/Brockhampton_(band))

Roadrunner – New Light, New Machine https://en.wikipedia.org/wiki/Roadrunner:_New_Light,_New_Machine

Listen

Youtube – https://www.youtube.com/playlist?list=PLyJihFoIZ6EgEs7AouZkzWti0n6wYYg4t

Spotify – https://open.spotify.com/album/6sPcgDto5EI6EBPc2jhDC7

Apple music –https://music.apple.com/nz/album/roadrunner-new-light-new-machine/1560871621

Backround

Brockhampton’s boisterous Saturation days are the stuff of legends. The self made internet boy band put out 3 albums in just over 6 months. A release schedule that was made even more impressive by the fact that every aspect was done in house. Production, Mastering, Mixing, Design and Promotion was all handled by the group of collaborative creatives, all living in one house in south LA. The run of albums rocketed the group to great heights amongst hip hop heads around the world. It’s combination of fun creative bangers and beautiful introspective moments showed the world how to combine the talents of a large group into impressively cohesive captivating tracks. Since then though the boy band has gone through a lot of changes. A multimillion dollar deal with RCA put a lot of pressure on the members. As well as them moving into separate houses and managing their separate lives. But the biggest post Saturation shock was the accusations leveled at key member Ameer Vann. Accused of emotional and physical abuse, Ameer was kicked from the group after what seemed like a hard split. This lead to them having one less voice in the group, a voice that many considered crucial to bringing a harder sound into the tracks with grittier verses and memorable lines. Ameer’s departure has split the fan base since. Some people believe that he should rejoin whereas others stand by the decision to remove him based on the allegations. Pointing out the group’s condemnation of abuse on the saturation trilogy, especially Matt Champion’s verse on the song Junky. The decision was also made to scrap their upcoming 4th album Puppy after the Ameer situation. Stating that his creative impact on the project made it not possible to release in their current mind state. All though key tracks have leaked from this album including the superb Ready for War. Their eventual follow up to the Saturation era, 2018’s iridescence and 2019’s ginger were much more somber moments for the group. The best parts of these projects were emotional and beautiful cuts such as Tonya or Dearly Departed. based on the group’s new found ability to write tracks on emotional events that they had all experienced together since blowing up. But the more high paced and party vibe based tracks were mostly absent. Despite them grabbing their biggest hit with the song SUGAR featuring Ryan Beatty. Which peaked at #66 on the Billboard top 100. These albums though we’re not received to the same acclaim as the Saturation era as a lot of people believed that they would never make the fun pop rap inspired boisterous cuts that made them heroes to a modern generation of hip hop listeners. That brings us to Road Runner, the 6th full length album from the group. Released on the 9th of April 2021. It was supported by a long promo run and 2 singles. BUZZCUT featuring Danny Brown and Count on Me featuring SoGoneFlexy and A$AP Rocky, with background vocals from Ryan Beatty and Shawn Mendes. But this record will now sadly go down as Brockhampton’s last effort together. That we know of. As the group announced that they would take “an Indefinite hiatus” focusing on solo work instead. This in my mind rephrases this album as a final victory lap of all the sounds that Brockhampton attempted in their other albums. And finally throw back to both what made the saturation albums so special and what makes their post saturation efforts emotionally captivating in their fans minds.

Review

BUZZCUT – featuring Danny Brown

Buzzcut was the first official single from Brockhampton in 2 years, and as a single it is meant to show that after all this time the group is still able to make the creative bangers that they built their name on. After the melancholic downturn of Ginger, Buzzcut sets out to remind us of what Brockhampton can do. The beat is built around an altered vocal sample designed to have the same piercing qualities of a siren. As well as drums that rupture the mix. The bass so trunk knocking that it flashes us back to highlights of the saturation days. Add to this the crazed verses from Kevin and Danny brown And a horn flourished psychedelic finish that ascends us into the rest of the album. It all comes together to form a fiery start to an album that won’t stay pinned down.

CHAIN ON – featuring JPEGMAFIA

The first edition of CHAIN ON was originally released as part of the Technical difficulties sessions. A series of loosies and quick songs that were created during lockdown. The song is relatively simple. With a beat made from a short Issac Hayes sample and simplistic drums. What carries the song really is the rapping from both JPEGMAFIA and Dom McLennon. Whilst Peggy’s verse is simply a barrage of endless quotables. “Slick with the ink, these melodies need DuoLingo. Same sise a Dua Lipa, where the fuck my pen go.” Dom takes a more vivid lyrical stance. Touching down on his African roots, “Hanging from a Chandelier in Babylon. We dont believe in white gods getting rattled on.” cultural descrimination and revolution. “Been ten toes down with my city on my shoulders. You got no idea how that weight could make you colder.“ Dom always brings some incredible writing and this verse is no exception. His lyricism remains underrated in my mind.

COUNT ON ME – featuring SoGoneFlexy, A$AP Rocky, Ryan Beatty and Shawn Mendes

This was the second single from this record and sadly it is probably the worst song on the album. Mostly because it seems like a shallow attempt to recreate the popularity of Sugar. The chorus is the highlight of the song with a catchy refrain and great vocals from Ryan and Shawn Mendes. But the verses feel unconnected to the rest of the song. Unlike with Sugar where the verses focused on the feelings of longing. The guest verses here from SoGoneSoFlexy and A$AP Rocky both seem half baked and unfocused. As Well as Matt champions verse being too understated for its own good. All together COUNT ON ME is unfocused and inauthentic. Luckily from here the record pulls out all the stops.

BANKROLL – featuring A$AP Ferg and A$AP Rocky

This should have been the other single. It is everything Brockhampton fans from the Saturation era want. The beat is hypnotic and full of bubbling dark synths. As Well as drums that constantly change and mold over the song’s course. From a production perspective the song is flawless. Full of wee details that you only notice on your 10th or 20th listen. The chorus is also flawless with my personal favorite member of brockhampton, Meryln dropping some strangely endearing lines with dark undertones. “*Always have to save you from a sunken thing. “.*The chorus is also emphasized by A$AP rocky’s braggadocious lyrics and echoed calls of BANKROLL. Meryln gets a stand out verse on this song as he drops quotables for miles. “Have to break down the Berlin wall just to come talk to ya.” “make it fit like nuts and bolts. One nut and I’m boltin’ off.” Sliding over this beat like it’s in his genes. A$AP Ferg also drops an explosive barked first verse. With energy that feels straight out of his earlier work. The song just feels effortlessly dark but continues to be just as engaging months after its release. BANKROLL comes together to create what is in my opinion one of the best trap inspired songs of the year. Remaining in constant rotation for wintertime.

THE LIGHT

This is my song of the year. It’s really an incredible moment in the Brockhampton catalog. To start off with the lyrics. This song is based around the two verses. The first from JOBA and the second from founding member Kevin Abstract. Kevin’s verse is a dark look back on growing up disenfranchised with both his family and heritage because of his sexuality.” I still struggling with telling my mum who I’m in love with. “ As Well as a powerful statement on his religion. “Losing jobs while losing god, then everything is tumbelling.” His energy makes you feel every line. But the heaviness of his verse is greatly overshadowed by Joba’s show stopping performance. After losing his father to suicide at the end of 2020, Joba feel into a spiral of depression and hatred. And all of this is laid out in one of the most powerful verses I have ever heard. He sounds like he’s on the verge of either a fit of tears or rage, as he unleashes bars such as. “When I look at myself I see a broken man. Remnants of my pops, put the Glock to his head.” “Skull fragments in the ceiling, felt your presence in the room. Heard my mother squealing.” ”Master plans by the maker, I see no savior. Morbid reflections and stainless steel. Alcohol and pills, deadly combinations, left with nothing else to feel. A floral haven, hope it was painless.” It is simply some of the most impactful poetry that has ended up on a hip hop song. Leaving you an emotional broken human by the end of the song. Also this is happening over an instrumental of raging guitars and roaring bass that gives the song such an encompassing presence that it’s hard to ignore. A moment of power that really leaves you feeling heartbroken after every listen.

WINDOWS – featuring SoGoneSoFlexy

WINDOWS somehow tiptoes the line of Brockhampton nostalgia and a fresh sound. Being the only song on the album featuring verses from all the front of house members of Brockhampton, it teleports the listener back to the Saturation days. The production is pure banger territory. Dark simple piano and synth rhythms and drums that hit with the force of a hundred Chris Browns. Add to this a simple but instantaneously catchy short hook and a lowkey beat switch in the last minute and a half. And you have what is the most classic banger that the boys have put together since Saturation 3. The verses on here are all flames as well. Meryln and Dom being the standouts. Dom’s energy and personal lyrics are just as on point as on CHAIN ON. And Meryln’s verse feels like a cyther from the early 2010s. With some great lines laced in there too. “While I watch Washington’s wooden teeth in her booty cheeks.“ Windows is simple in its perfection but layered enough to keep the most in depth listeners entertained, in a similar fashion as BANKROLL.

I’LL TAKE YOU ON – featuring Charlie Wilson

At this point the record continues to flip its emotional feel. I’LL TAKE YOU ON harnesses a summery feel, and is carried by its perfectly sliding chorus. It’s pretty irresistible in its danceability. The vocals seem to run over each other hardly giving you a break in the song. Although some of the processing on the verses goes a bit too far in my opinion. Charlie Wilson’s addition helps with this as his vocal tone is so recognizable. All though he is underutilized in this song. The lyrics focus on feelings of loving and being willing to wait for a person. With each member approaching the topic from a different perspective. But all together it merges seamlessly into a great performance. Topped with the sliding smile cracking production. It’s a great, more romantic and light cut for the tracklist. Succeeding in being a more beautiful and catchy song than COUNT ON ME.

OLD NEWS – featuring Baird

This is the song that seems the most unimportant in the album. On the face it is a similarly summery song with heavy RnB influence. But being placed straight after I’LL TAKE YOU OWN makes it pale in comparison. The chorus is not nearly as catchy and whilst the beat is still impressively produced and arranged, it lacks the danceability which is such a big part of what makes I’LL TAKE YOU ON work. The redeeming factor of this song is the great verses from Joba and Braid. The latter especially, who works in some amazing imagery. “I’ll do the live show for a one horse town. The blue black behind my eyelids of an unheard sound.“ It is a great verse which catches the ear in the middle of what is sadly the most forgettable song on the album.

WHAT’S THE OCCASION?

Throwing another massive spanner into the predictability of this album, WHAT’S THE OCCASION? starts off as a guitar twinged normal sounding brockhampton affair with understated introspective verses from Matt Champion and Joba. And a pitched chorus about the fragmentation of everyday life. The start of this track feels like something straight out of the iridescence era. But at the halfway point the chorus breaks down and we are left with an ascending piano that carries us into the true surprise of this song. A emo/alt rock heavy closer. With blaring guitars and distorted drums. Whilst personally I think that it is a bit too distorted and heavy. It makes for an interesting alleyway for the Brockhampton boys to explore.

WHEN I BALL

A personal highlight from the album truly is WHEN I BALL. It encapsulated the power of childhood. With nostalgic verses about growing up in hard times. Matt Champion has a great verse contrasting his younger years to the surprise of his success. A verse that paints a picture beautifully, “gritting the teeth down to the root, pain like cavity”. But again it is Dom who shines brightest on this song. With one of his most heartfelt verses ever. He talks about growing up surviving alone, and the fear of losing his mother to the corrections system. A verse where every line is perfect in its beauty. Making you feel the connection he and his mother had. These verses and the nostalgic chorus are all wrapped in string laced gorgeous production. Arranged by the Brockhampton boys with help from the Neptune’s own Chad hugo. It feels like a late registration Kanye Beat, but filled with childlike hope. This is simplistic and yet perfect moment for this album. Which is strange because of what follows straight after it.

DON’T SHOOT UP THE PARTY

One of the most interesting songs on the album. From the get go it’s obviously super catchy and danceable. The production is distinctively west coast influenced like many other Brockhampton songs have. The bouncy bass and synthesizers that pierce straight into you. It has a very palpable energy. Creating the perfect bed for a super smooth but dark Matt verse. As well as a tension filled first verse from Kevin, who touches down on the paranoia that comes with his success and the unlikeliness of his situation. Painting Brockhampton in a light of determination. The whole song is lyrically stitched together by its unnerving chorus though. Shouts of “DONT SHOOT UP THE PARTY” alluding to people ruining the good times that the members of brockhampton were having. But also very immediately referring to the fear of someone shooting up a real party. As Joba states in his short bridge “what’s the Issue, why you gotta grab that pistol, think about the people who gon’ miss you.” It stands as an abnormal theme for any group but it works in so many ways through the voice of Brockhampton. The song ties together for a paranoia banger that sends shivers down the spine.

DEAR LORD

DEAR LORD is the only seemingly interlude song on the album, but it holds an important meaning as a tone setter for the finale of the record. This track features only vocals from Bearface, who has a distinctive voice that shines through on the closing tracks of the Saturation era. His voice is truly saturated in emotion. And it’s perfect for the moment. The song really hits hard when you learn that it was written for Joba after his father passed. Taking the structure of a hymn, Bearface calls for God to come down and show his love for Joba and make his life a little bit brighter. This reconnects to the themes of religion explored on their previous album Ginger. Peered with vocal layering and a soft electric piano for the last moments. It is truly a touching short moment of reflection before we are led into the album’s heartbreaking last song.

THE LIGHT PART II

The sister song for THE LIGHT revisits the lyrical themes of the original from a different angle, one of regret and pure mourning other than shock, anger and fear. The production is purely fitting for this song as well, simplistic and yet heart wrenching. The vocal chops that echo through the track. As well as the reverb heavy guitar and subtle drums. It all layers together to form a bed of bliss which doesn’t take away from the verses by Kevin and Joba. as well as a hook that reaffirms the worth of life, and holding on until better times. “The light is worth the wait.” a cathartic hook that elevates the verses. Kevin take the first verse and continues to talk about his family and the regret he feels not being as close to those he should be. “The temperature rising, what type of man can find the right time to fly in. especially when my cousin dying.“ The also takes a look back on his home in Texas and how it affects his family that still live there. Finishing his verse off with a reference to seeing the light, in reference to seeing better times for both his family and his city. But again the true star is Joba who delivers possibly the most emotionally raw verse I have ever heard. His voice cracking at the darkest parts. I spent a lot of time whilst writing this review thinking about which lines to insert here that showed how heartbreaking of a verse it’s,but I Couldn’t settle on which ones. So just go listen to it. It is one of the darkest portraits of the hole that losing someone so close to you leaves. Even comparing it to the thought that his children will never know their grandfather. It’s an impossible moment not to get you into rethinking your life, and appreciating what you have. It’s made even more potent when you realize that it is the last album song the group will put out. Closing off one of the most interesting careers in modern hip hop. And closing off an album that is such an interesting and unforgettable ride. An album that shows off the best of the sounds that Brockhampton utilized over the years. It really is a singular album for the year from a singular group. Who even at their lowest moments were still cutting edge and purely entertaining. Anyone who thinks this album did not live up to expectation should reconsider. There is simply something for everyone here. And that is why it was my album of 2021.

Questions:

Where would you place this is in their discography? Do you think this was a great send off album? Sad to see them go?