By Jaden Reynolds
This is a very special review to me as both men are some of my favorite artists of all time. JPEGMAFIA and Danny Brown have had a massive effect on my music taste over the years. They have shaped the way I view music and created sounds that I didn’t think could exist. “Atrocity Exhibition,” by Danny Brown had a chokehold on my Spotify in 2018 and “LP!,” by JPEGMAFIA has stayed constant in my rotation since release. When this album was announced, I couldn’t contain my excitement. This album is something I would talk about with friends, hoping that one day it could happen. Today, it’s a real thing, and it did not disappoint in the slightest.
The album opens with the first single, “Lean Beef Patty,” and slaps you in the face with JPEG’s signature production style. The blown out and abrasive drums are complimented by high pitched synths and a sample of, “I Need a Girl,” by Diddy. JPEG’s vocals pierce the instrumental, guiding you through the chaos. A beat switch gives Brown the chance to find his way into the instrumental. At first, I was underwhelmed by the mixing and Brown’s vocals because of how drowned out they were but as I kept listening, it felt intentional. It grew on me a lot from the first listen and fits the vibe of the album. There couldn’t have started off this record any better.
The next track, “Steppa Pig,” keeps the same style as the last, starting off with Brown. The instrumental has the same ethereal feel but is more put together than the last. With this cut, JPEG’s production seems to lean more electronic than normal, as the synthesizers really take control here. Their rapping is not overshadowed though, as both men deliver unforgettable verses.
The title track is even more abstract than the last two, opening with a repetitive clapping used as an element built upon. The track has a delayed start, with JPEG rapping over just the clapping. The moment the saxophone and drums come in is a highlight of the album. They slide in at just the right time to keep the listener engaged.
“Garbage Pale Kids,” is next on the record. This is one of the wonkiest tracks, sampling an old Nichiro commercial. It has Brown and JPEG rapping over drums that sound like cowbells and repetitive vocal sample from the commercial. Just when you think this track couldn’t get any weirder, the instrumental slams you with an obnoxious guitar solo that is a highlight of the song.
The next cut off the record sticks with the vibe of the first two tracks, being synth lead. The choppy and confusing production scratches an itch in your brain you never knew you had. Although I love this track, I believe it is one of the weaker on the record.
The start of this album is everything I could have asked for from a collab between these two but it really picks up at track six, “Burfict!.” When announcing this record at a music festival back in summer 2022, JPEG and Brown preformed this track as a teaser. They have done this countless times in the lead up for this album and it has been a fan favorite. This track is loud and explosive, being one of the hardest hitting beats in either of their discographies. It starts with JPEG’s iconic producer tag straight into one of Brown’s most fun verses of his career. The instrumental consists of trumpets screaming over earthshaking 808s you can’t help but get engrossed in. JPEG slides in with the horns and energy building to unprecedented heights before it cuts back to the 808s. The chemistry on this track between the two is on full display.
Track seven has two halves which are split down the middle. Brown gets the more fun half, feeling like something you would hear on an old trapaholics mix tape while JPEG gets the smoother meticulous half. Both come together to create a memorable track that keeps up the pace of the record.
“Orange Juice Jones,” is a needed switch up in production that changed the pace for the rest of the record. JPEG’s production signature soul sampling style returns as a personal favorite of mine. The cut is laid back with both artists flowing casually. Brown said on twitter that this is his favorite on the album.
Some background on the next track in necessary to fully appreciate it. The feature, Redveil, is an 18-year-old rapper who writes and produces all his own music. He has been making waves in the underground rap scene since he was 15 years old! I personally have been a fan since then so seeing him get the only feature on the album blew my mind.
“Kingdom Hearts Key,” starts calm with just the sample with no drums. JPEG vocals come over the soothing sample and then two lines in, the drums kick in, transporting you into a different world. The only word to describe it is ethereal. It grabs your attention like no other track I’ve heard this year. JPEG’s chorus is an earworm that has been stuck in my head since release. Brown comes in and flows just as smooth on the track, leading us into Redveil. He absolutely shines in the moment as his verse is explosive and unexpected. His normal style sees a more laid-back approach to rapping but on this track, he leaves nothing. He slides into the instrumental after Brown’s verse with this attitude we have never seen from him. This track and Redveil’s verse are my favorite on the album and of the year so far.
The sample of the last cut perfectly leads into the next track, “God Loves You.” It starts with a gospel sample looped which is followed by deep synths and Brown’s high-pitched vocals. It’s as hard hitting as any song on this album and stands up to the rest despite its shorter length.
Track 11 is named after the legendary hip-hop duo Run the Jewels. JPEG is again rapping over a lone saxophone before the beat switches into something you would hear during Halloween. Brown’s flow keeps up though, as it’s a short burst of energy in the record after a smoother moment. This track feels like the title tracks older brother.
“Jack Harlow Combo Meal,” is probably the most interesting on the record. It starts with a slow and smooth piano as the drums and Brown come in behind. The mix between classical jazz and the abrasive nature of JPEG’s production is unexpected but welcomed. I really enjoyed this switch up as I believe it adds a lot of value to the project.
The second to last song, “(Heaven on Earth),” is very disjointed but has its own charm to it. It slammed the listener with organs and drums that are all over the place. While different, everything feels intentional, and I just can’t help but sway my body with the parts I latch onto.
The closer splits between verses from both men behind a simple drum pattern and then explodes into horns. These horns break up the song into sections when both shine. It’s the perfect closer for this wild ride of an album.
For an album with such high expectations, I would say it not only met them, but exceeded them. In my mind, there was no way this could have been a bad album. JPEGMAFIA and Danny Brown are great friends in real life and that chemistry transfers onto the album. It’s a fun and mind-blowing project that will leave you speechless if you don’t know what to expect. Brown and JPEG made something very special here that I believe no one else on planet earth could come up with. If you have even the slightest bit of interest on the project, I encourage you to give it a shot because you may find something you couldn’t get anywhere else.
Favorite Tracks: Burfict!, Kingdom Hearts Key, jack Harlow Combo Meal
Least Fav: None
Rated nine out of Ten