Written By Jaden Reynolds and Jason Marecki
In this series of reviews, Jason Marecki and Jaden Reynolds have been covering each major Armand Hammer release in preparation for their new album, Mercy, released November 7th. This is that final review, the penultimate Mercy review.
In the grand scheme of Armand Hammer’s discography, Mercy is a disappointing entry. As we have made blatantly clear in this series, Billy Woods and ELUCID are top-tier lyricists and that doesn’t stop here. What’s the most disappointing is the production. It feels like 20 steps back from the tightly thematic Haram and the mind-blowingly experimental progenitor of post-rap We Buy Diabetic Test Strips.
The opener, “Laraaji” sets the record off on a highlight, with The Alchemist embodying the disjointed instrumental style we have come to know and love from the duo. Other productions highlights like “Nil by Mouth” and “Dogeared” have this lush, comforting feeling that I don’t think I’ve gotten from them before. On “Dogeared”, Woods raps about the monotony of everyday life and the struggles of living the same day every day. These tracks stand out for the sole fact that most of the other tracks on the record fall flat due to The Alchemist’s solid but repetitive production.
Tracks like “Peshawar” and “Scandinavia” feel as though it has been made before. Woods and E L U C I D are at the top of their game, but The Alchemist’s production feels stunted. The same piano keys, same drum pattern, and overall lack of diversity continue to haunt him on this project. Right when the record feels like its finding it’s feet again, tracks like “No Grabba” and “u know my body” fall flat due to the creativity from him. While there are creative moments throughout the run time, the entire record feels uninspired.
It’s strange The Alchemist is so bland so often on this record when just 4 months earlier he produced the outstanding Alfredo 2. Time and time again, The Alchemist is just downright scared to do anything interesting on Mercy. We get glimpses of greatness occasionally, but it’s ALWAYS overshadowed by bright, blinding spotlights of mediocrity. Comparing it to Haram, the other joint Armand Hammer and Alchemist record, Mercy is just so unfocused. There are interesting ideas and concepts left undeveloped, and it’s so disappointing to see from one of the most prolific producers in the game right now.
In a similar fashion as its opener “Laraaji”, Mercy ends with a closer just as strong. “Super Nintendo” was one of the singles the duo released along with “California Games” and “Calypso Gene”. Intense feelings of nostalgia, yearning, and a desire to escape to a simpler past thread through every ounce of “Super Nintendo”. Woods raps about a past self he can’t seem to find anymore, “wondering where that brother’s at”. Not only does he think about his own time passing, but his mother’s too. It’s something we’ve all had to grapple
with before, that moment you stop seeing your parents as untouchable or unchangeable, but as people.
For our final entry in this months long series, we’ll be looking at some notable rap albums from this year, 2025! Some notable releases include Let God Sort Em Out by Clipse, billy woods’ solo project, Revengeseekerz by Jane Remover, the previously mentioned Alfredo 2 by Freddie Gibbs and The Alchemist, Showbiz! By MIKE, Rebel by EsDeeKid, THE PEAK by smokedope2016, Psykotic by Osamason, Museum Music by Edward Skeletrix, and Playboi Carti’s long-awaited I AM MUSIC.
In a landscape more representative of queer, experimental, and most importantly young artists than ever before, Mercy doesn’t stand out nearly as much. Although novel ideas from the Alchemist do peek through, it’s still a retreading of tropes we’ve heard over and over for the past 10 years in rap.
Fav tracks: Super Nintendo, Dogeared, Longjohns, Laraaji
7/10