![]() ![]() Thompson of Pitchfork described the project as having "razor-sharp bars and an exceptional eye for detail", and gave it a "Best New Music" award. The album has received particular praise for Mach-Hommy's lyricism. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 85 based on eight reviews. The album was met with universal acclaim from music critics. The album cover was created by Noah Leigh, and is an immitation of Jean-Michel Basquiat. And from there, we said 'let's just kill this.'" In an interview with Rolling Stone, Westside Gunn states that once the pair had reunited, "e picked up where we left off. However, the pair made up late in 2020 and began to collaborate again. Mach-Hommy and Westside Gunn, though onetime collaborators, had fallen out of touch throughout much of the later 2010s. Mach-Hommy announced that 20 percent of the album's profits will be donated to the Pray for Haiti Trust Fund, which he set up to fund educational infrastructure in Haiti. It features guest appearances from Westside Gunn, Keisha Plum, Melanie Charles and Tha God Fahim. It was released on May 21, 2021, through Griselda Records and Daupe! Production was handled by Camoflauge Monk, Conductor Williams, Denny LaFlare, Cee Gee, DJ Green Lantern, Messiah Muzik, Nicholas Craven and Sadhu Gold, with Westside Gunn and Mach-Hommy serving as executive producers. But it also serves as a companion piece to both Mach and Earl’s larger catalogs, continuing old threads and hinting at directions either one might pursue in the new year.Pray for Haiti is the twenty-second studio album by Haitian-American rapper Mach-Hommy. It exists, on one level, as a clean, distilled 22 minutes of exceptional rap music. And that’s where the EP succeeds so beautifully. Structurally, Fete Des Morts frees Hommy to try a quick series of different ideas: a Twitter-nodding crime vignette on “Manje Midi,” a modern-day “Les Mis” on “THEJIGISUP.” The themes he explored in such depth on HBO-familial honor, the weight of tradition-reappear here mostly through implication, while the writing is more overtly concerned with naturalistic, often grim details. There are also stark, fascinating diversions: “Embarrassment of Riches,” which is produced by Navy Blue rather than Earl, opens with an extended bit of singing, before transitioning back into razor-tongued raps. He’s more likely to pick up a narrative thread for an extended period, or to start writing in discursive lines, filled with the pronouns and prepositions. The comparisons to the vaunted half-revivalist Roc Marciano are not unfounded, but Hommy is a more unpredictable writer. It’s tempting to classify huge swaths of East Coast rap from this decade as post- Marcberg, full stop. (There’s even an exultant airhorn at the beginning of “Bridge of the Water G-d.”) The artists’ partnership, then, is compulsively listenable: acrobatic writing over no-nonsense beats by another verbose MC, who knows where to leave the crevices. Earl’s beats are uniquely post- Dilla in their treatment of vocal samples and in his affinity for warm tones cut by jagged textures. Songs flow seamlessly into one another the 70-second exhale of “Henrietta LAX” gives way to “TTFN,” which itself abruptly stops for Mach to mock “social media metrics” and let off a gunshot. ![]() Songs unfurl slowly: “1080p” has a 60-second prelude before its first verse, but once he starts rapping, he goes in fits and starts, lamenting that “nobody love you when you alive,” remembering how his friends blanched at how seriously he took The War Report.īy contrast, Fete Des Morts feels like a series of contained exercises. Its cover is a portrait of Michéle Bennett, the former Haitian first lady who fled the country in 1986 Hommy litters his writing with the relics of French colonization, class revolt, and Giuliani-era New York. HBO is a remarkable record, dense and patient. His major work is Haitian Body Odor, an LP he sold directly to fans through his Instagram DMs last year, before finally putting it online for free this March. The New Jersey-based Hommy was briefly affiliated with the Conway- and Westside Gunn-helmed Griselda Gang, but has since splintered off into his own section of the genre. (On his Bandcamp, the record is credited, confusingly, to DUMPMEISTER.) Fete Des Morts is a compelling look at Earl’s influences and instincts behind the board-including a soul bent that bypasses turn-of-the-century Roc-A-Fella-but it transcends because Hommy uses it as yet another venue to argue for himself as one of the East coast’s finest working rappers. For his latest effort, the $111.11 Fete Des Morts AKA Dia De Los Muertos, Mach-Hommy taps Earl Sweatshirt for beats and dives back in. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |