Daniel Sweat
Contributing Writer
After a turbulent summer during which BROCKHAMPTON kicked out one of their founding members, the self-proclaimed world’s greatest boyband is back with “iridescence.”
The history of the band’s post-“SATURATION” projects is so chaotic that even some of the band’s devoted fans might have gotten lost. Last spring, Kevin Abstract, the band’s frontman, gave his Instagram followers a preview of a new album: “PUPPY.” The snippet showcased the band’s usual, boisterous style that listeners heard throughout the “SATURATION” trilogy. Later that April, Abstract tweeted “PUPPY SUMMER 2018,” further stoking fans’ excitement.
In the following weeks, two women came forward with stories accusing Ameer Vann, one of the band’s central members, of sexual misconduct/abuse. Others corroborated their stories. Several weeks of silence on social media from all of the band members followed. “PUPPY’s” release date was pushed back indefinitely. Ultimately, they decided to kick out their childhood friend from the band, though they’ve come under fire for their slow response.
“Ameer is no longer in BROCKHAMPTON,” a post on the group’s website read. “We want to sincerely apologize to the victims affected by Ameer’s actions. We were lied to, and we’re sorry for not speaking up sooner.” A few days before the announcement, an uncharacteristically morose Abstract took to Instagram to debut another single from “PUPPY,” clearly shaken by the gravity of the situation. The single still featured a verse from Vann.
Hype surrounding “PUPPY” faded until the band released three new singles later that summer: “1999 WILDFIRE,” “1998 TRUMAN” and “1997 DIANA.” The band performed “TONYA” on The Tonight Show, and they introduced the performance as being a single off a completely different project: “The Best Days Of Our Lives.” The emotional toll on the band was immediately apparent, and some speculated that “TONYA” was a reflection on Vann’s departure from the band. “I fantasize about a time when everything was simple,” raps Dom McLennon. And later, “A victim of Stockholm in my friendships and family.” Fans anticipated an emotional album, fraught with the same intensity and honesty of “TONYA.”
Then, news surfaced that BROCKHAMPTON had begun recording at Abbey Road Studios. In just 10 days, the band emerged with “iridescence,” a culmination of all the chaos and emotion that preceded it. None of the singles they had released appear on the album except for “TONYA,” adding further to the confusion.
While “iridescence” still serves up the same BROCKHAMPTON style that fans have come to expect, it also showcases the band’s vulnerability. However, if anybody was worried that the whole album was going to be as gloomy as “TONYA,” the first song (“NEW ORLEANS”) instantly dispels those worries. The album frequently flip-flops between mania and moodiness. Abstract’s romantic ballad to his husband — “SOMETHING ABOUT HIM” — immediately precedes Merlyn Wood’s boasting about his rise to fame on “WHERE THE CASH AT.” Joba’s frenzied performance on “J’OUVERT” follows the band’s reflection on their insecurities over the mournful sound of violin strings on “TAPE.” Both manic and moody, “iridescence” captures a wide range of what BROCKHAMPTON can do.
The most intriguing aspect of album is bearface’s changing role in the group. His moody, atmospheric crooning was usually relegated to the closing tracks on the “SATURATION” trilogy, but he has a more central role on this project. His vocal style still lends itself to the more downtempo tracks, but on both “TONYA” and “FABRIC” especially, we see bearface embrace a more rhythmic approach. It might be a stretch to call it rapping, but it’s definitely a change from what he’s done previously. On “iridescence,” all of the group’s vocalists continue to impress, but bearface blooms.
If you’ve never heard BROCKHAMPTON before, “iridescence” might not be the best place to start. It captures so many different aspects of the band, and the production is (in my opinion) the most impressive they’ve ever had. However, “iridescence” is a departure from the BROCKHAMPTON that fans fell love with on the “SATURATION” trilogy. The band moves beyond their past work on tracks like “J’OUVERT,” but they stay rooted in the style that garnered them so much popularity last year (“HONEY” even samples SATURATION I’s “CASH”).
Regardless of whether “iridescence” provides a good on-ramp for new fans, the new BROCKHAMPTON album showcases the breadth and depth of the each member’s talents.
(Photo from FADER)