by Asad Raja - President
Speaking
about the title of this new effort, All My Heroes Are Cornballs,
JPEGMAFIA reflects on the common internet age realisation that people we think
of as our role models are humans capable of human-level disappointment.
Significantly, he stresses the fact that this goes both ways - he feels he is
bound to be letting down someone somewhere at any given point in time. This
album is somewhat of a response to that idea, through a now well-established
PEGGY lens of aggression mixed with nihilism. PEGGY is all too aware that the
punch-in-the-face, noisey, challenging style that won him so much critical
acclaim after last year’s Veteran is
what fans have come to expect. He satirically acknowledges the irony of
listenability therefore being a sign of his music coming short in a series of
promotional videos where he plays tracks from his album to contemporaries he
respects (including James Blake, Slowthai and Jeff Tweedy). Despite their
praise of his work, he labels the videos as proof of their disappointment, the
only exception being Denzel Curry who is said to be “satisfied” in the video
title despite trashing the album and calling it “Yeezus with hobos”.
Tracks
‘Free the Frail’ and ‘Rap Grow Old & Die x No Child Left Behind’ have the
clearest fame-reflective themes on the albums. The former is an
uncharacteristically clean and vulnerable moment where PEGGY attempts to talk
through his strange and turbulent emotional response to actually “feeling
employed”. The instrumental includes a low, lazy, tide of a bass and pecking
synth-drum claps which alternate with a more organic drum refrain. The latter
sees PEGGY rap over a drilling static that contrasts soft keys that come in for
a chorus where he sings about a “vicious cycle” where you go from “Bobby”
(presumably Shmurda - a felon yet a cult legend) to “Michael” (presumably
Jackson - an icon with a soiled name).
The
album’s lyrical content goes beyond just a response to fame though. PEGGY uses
his new vantage point to further confront and interrogate archetypes in the
weird modern cesspool of shallow thots and rappers, music industry soul-suckers,
brazen bigots and internet-dwelling-pseudo-liberal closet-racists and
quasi-incels. Through this all, PEGGY grapples with his own identity - his
proximity with all these groups seems to make him paranoid of losing the
ability to self-define. In particular, his experiences with the aforementioned
bigots and internet-dwellers - two sides to the “cracker” coin - seem to have
made him hyper-insecure of his large white fan-base who genuinely admire his
work and whose support he is ultimately grateful for. His obsession with
shooting “crackers” down therefore seems to be an overcompensation.
‘Grimy
Wifu’, a beautifully composed track that transitions immaculately from the
previous, sees PEGGY’s creepy infatuation with confrontation manifest as
romantic feelings for his gun. A mellow acoustic guitar leads the track but a
viscously vibrating bass that lies dormant just beneath and repeated glitching
embellishments give the impression of being in the core of a tornado. ‘PTSD’
which follows on from this continues this confrontational theme but this time
with the attention focused on the person PEGGY’s bullets are aimed at. The
instrumental is beautiful once again but is more depressive, precariously held
just above threatening. It also features one of the hardest verses on the
album, with the following brilliant bars: “Your deal look like Brexit/ biting
crackers and wonder why you anorexic”.
‘Beta
Male Strategies’ earlier in the tracklist is one of the most sonically
impressive moments of the album, starting with a gorgeous, hypnotic sample that
sounds like an other-worldly paradise. PEGGY ingeniously plays with the mixing
so that, when the deathly beat switch suddenly comes in and he begins to rap
over it, certain bars spring right against your ear drums - “DON’T LEAVE THE
HOUSE”, “GLOCK WITH THE DICK”. The title track, with its deceptively harmonious
glitching synth winks that sound stellar over a bass that teasingly comes and
goes, and the opening track, ‘Jesus Forgive Me, I Am A Thot’, with its dreamy,
watery synths neatly spliced with chaotic screaming vocal scrambles, are
similarly stunning.
Being
a highly experimental album that thematically behaves more like an abstract
mosaic than a portrait, I’m not surprised that there are moments that
completely loose me (like ‘PRONE!’ or ‘DOTS FREESTYLE REMIX’). Overall though,
the ratio of impressive and bemusing is just right.
4/5
stars
For fans
of: Injury Reserve, Slauson
Malone
Top tracks: Beta Male Strategies, PTSD, Grimy Waifu, Free
The Frail
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