In true Kanye fashion, Brockhampton has finally released their fourth studio album “Iridescence,” their follow up to their now hailed Saturation trilogy, following a messy and unorderly release cycle.
Fans of Brockhampton’s catchy hooks, upbeat energy and quotable lyrics scattered across the Saturation trilogy will be disappointed by the new direction they have taken on their latest project. Although the more industrial sound explored on “Iridescence” is an unexpected handoff from their standard hip hop beats, it’s not something to be overlooked.
The boy band that took 2017 by storm more than likely expected 2018 to go much differently. Their first speed bump, in a year where they should’ve been celebrating, occured when they rescheduled their highly anticipated album “Team Effort.”
The year took another unanticipated turn when allegations of assault, amongst other things, were made against original member Ameer Vann, who was subsequently dropped from the band that used his face for all three of the Saturation albums.
The year’s turmoil didn’t end there as they announced yet another album, “PUPPY,” which was scrapped, followed by an album by titled “Best Years of Our Lives,” which was also scrapped. It seemed as though the once timely and trusted boy band had fell into a funk of indecision and unrest.
On Aug. 26, Brockhampton announced that their follow up album was to be released in September, ten months after “Saturation III” was released.
Not unlike regular twenty-somethings traveling the world for the first time, Brockhampton members have seen new countries and have used their opportunities touring to collect new inspirations that are palpable throughout “Iridescence.”
In multiple tweets by lead rapper Kevin Abstract, he states that members had found new inspiration while touring in Europe. This led to their fourth album being fully recorded in the famous Abbey Road Studios, most likely paid for by their recent signing to RCA records.
This European inspiration is evident in the overseas grimy beats found on tracks “BERLIN,” “DISTRICT” and “WHERE THE CASH AT.” Lead single “J’OUVERT” takes cues from a Caribbean festival that the name is in reference to. Around the middle of the track horns and bells can be heard in what sound like a street festival taking place.
In contrast to their Saturation trilogy where members Matt Champion and Kevin Abstract take the wheel on most songs, they politely hand over the spotlight to members Joba and Merlyn Wood, who are more than heavily featured on tracks “J’OUVERT and “WHERE THE MONEY AT.” The two tracks highlight their ability to deliver more than just quick explosive bars.
Matt Champion also grows as he takes to being a handy multi-tool used for his scratchy spoken intro on the track “SAN MARCOS” and his ability to deliver nimble tongue-twisting lyrics found on “VIVID.” Here Matt raps:
“¿Cómo se dice?/Don't touch on me with them dedos/I minimize all your credentials, I maximize all of my pesos/I want that dance that can do it, give it to me straight, don't dilute it/I'm one-handed like Odell/Numb the pain like Orajel”
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This outbreak of tumbling words, featuring Champion’s interior rhyme scheme, shows huge improvement in his technique and writing skills. On another note, member Dom McLennon shows little to no growth within his skills as a rapper, and it’s clear he’s the least developed voice on “Iridescence.”
Kevin Abstract however took the chance to become the voice of emotion with his bars on “WEIGHT” where he raps:
“'Cause I'm still worried 'bout when Ashlan finna put the razor down/So I don't really give a f**k about a story they done spun”
These lines gained him attention for talking about the band’s photographer Ashlan, who appears to have begun self-harming. Later in his verse he once again touches on his own struggles as a young LGBTQ member.
Throughout “Iridescence” Kevin can be found pitching up his vocals similar to effects he’s done on his solo work. He also is the sole contributing voice on the track “SOMETHING ABOUT HIM,” which is an album low point.
At the height of “Iridescence” is the track “HONEY” which finds each member playing to their strengths, including Kevin Abstract, who takes over as executive producer to mix samples from Beyoncé’s “Dance for You,” and Brockhampton’s own song “BUMP.”
“Iridescence” lacks Brockhampton’s usual energy and vibrancy but builds on the bands emotional depth — which is a huge jump musically, as they take massive risks and experiment with more electronic, industrial overtones.
Their fourth project contains more choir cuts, more string sections and much more of their secret weapon who goes by the name of Bearface. “Iridescence” seems to be an hour cut of their first experimental song “SISTER/NATION.” As the back cover of their album suggests, “Iridescence” is the first album in a new trilogy titled “Best Years of Our Lives.”
It’s unclear if their following albums will stick to this new sound in the way that the Saturation albums did, or if each album will pave the way for a new tone of hip-hop records. Either way Brockhampton has proven themselves to be a musical force to be reckoned with, as they have conquered a new sound that seems to be all their own.
Brockhampton will be performing at this years Austin City Limits, which will be covered by Daily Lobo Photo Editor, Colton Newman.
Colton Newman is the photo editor for the Daily Lobo. He can be contacted by email at photoeditor@dailylobo.com or on Twitter @Coltonperson.
