With the exception of the trance-y Trezeta Air Max and Unfortunately, the second half of the album was often repetitive or mediocre, like the somnolent HBO, Redneck Eats (off his 1970 album 200 Motels) into aĪnd highlight Plenty stages a chaotic, dense and hypnotic soundscape (with a comic coda of the jingle "One of These Things" used in the 1970s children TV series for children "Sesame Street"). The neurotic and emotional 1080p rides over mellow soul strings and the tinkling jazz piano of Joachim Kuehn ( Black Tears, 1974) Ti Geralde messes with Bardo Pond's psych-rock jamming ( Yellow Turban, off their 1996 album Amanita) This album of lo-fi boom-bap rap, that frequently harked back to the jazzy boom-bap sound of the 1990s and quickly became an underground cult item,īoasted literate free-association lyrics, delivered in a stately baritone andĭressed up with Fanon's creative productions: (2016), whose title stands for "Haitian Body Odor", and mostly produced by August Fanon. He restarted his career with the 18-song H.B.O. Sauer Suite and Gnarly Dude (embellished with a furious beat by Knxwledge), besides jazzy moments ( Midrash) and a couple of New Jersey-based Haitian-American rapper Mach-Hommyĭebuted with mixtapes such as Goon Grizzle (2004) and countless EPs.įYI (2013) already encapsulated his complex raspy style and ( Copyright © 2021 Piero Scaruffi | Terms of Use) Mach-Hommy: biography, discography, review, ratings 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.The History of Rock Music. 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.
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