When most of us first heard about BROCKHAMPTON, the thing that jumped out to us about the self-proclaimed “boy band” was the chaotic experimental energy that the collective radiates: a pan-racial, non-heteronormative, tight-knit group born out of a social media group and destined for pop domination.
With their SATURATION Trilogy in 2017, the Texas-made band became the first group to ever release three albums within six months. Last year, they then released IRIDESCENCE, an album where the band showcased their depression in a way that struck a chord for many. Since the band’s formation in 2015, it is simply undeniable that this group of creative, struggling young men have rather surpassed set barriers to leave their marks in the music industry over and over.
So, of course, it comes to nobody’s surprise that after over a year of intense struggles (releasing four albums in quick succession, forcing out one of the band’s exceptional rappers, Ameer Vann, when he was accused of sexual misconduct), the band was able to put together their fifth studio album and reflect their growth — all while organically showcasing the musical experimentation that is idiosyncratic of BROCKHAMPTON’s sound.
In GINGER, there’s Psychedelic rock, SoundCloud distortion, Kanye-style writing, R&B vibes. The album blasts out shards of acoustic guitar and techno while evoking tales of depression in a complete openness — GINGER is simply an album that turns the members’ personal traumas into mass-culture art.
NO HALO:
The album cover has members Joba and Matt Champion hugging, visually showing the emotional vulnerability presented in the album. The opening track on the album, “NO HALO,” then goes on into reflecting this vulnerability lyrically.
The song welcomes female vocalists to the band, most prominently the singer Deb Never. Then, throughout the song, we see all six BROCKHAMPTON vocalists take turns singing and rapping over fluttering acoustic guitars — and every single one of them has something to say about some kind of internal crisis. We hear Merilyn Wood, for instance, powerfully rap about depression and struggling to make it out of bed.
“NO HALO” is simply a song about doubt, fear, and uncertainty: it is an intense self-examination coming from six different damaged young guys at once.
SUGAR:
Do you love me? Love me, love me
SUGAR, with it’s catchy acoustic rap, has somewhat of a laid back summery ring to it. But the previously-established vulnerability continues through this song’s lyrics. In the song, there’s a clear juxtaposition between the easy going sonics and the rather depressing message of its verses. At most, it is a song for hopeless romantics, opening with “Spending all my nights alone waiting for you to call me.”
The song also deals with addiction, having Matt Champion detail experiences with substance abuse: “Used to trade Jordan for some molly / And she gave me all I need for the night, forties suffice / Morally alright, but I need some advice / And I know that I’m actin’ foolish.”
BOY BYE:
I was the one that you needed but you weren’t expecting
One cannot argue against Matt Champion when he raps: “Man, this sh** bump like a belly when it’s pregnant” — BOY BYE is a fun, interesting song. As used in today’s vernacular, it is the hardest banger of the album, a must-listen.
The holy trinity: NO HALO, SUGAR, BOY BYE:
The first three songs of GINGER —“NO HALO,” “SUGAR,” and “BOY BYE”—are perhaps the holy trinity of the album. This trilogy of haymakers at its outset makes it seem like the crew has unlocked its full potential, but as the album progresses, one can come to appreciate each song on its own.
The fourth song of the album is “HEAVEN BELONGS TO YOU.” It is the shortest song of the album at 1 minute and 30 seconds; but it is a song that nonetheless reflects internal struggles and faith in God, serving as the perfect transition for ST. PERCY, the next song.
ST. PERCY gives laidback summer vibes like “SUGAR” does. The song has a goofy, experimental bass line to it, inspiring fun, larger-than-life verses with its melodic experimentation. The song is followed by “IF YOU PRAY RIGHT,” the fifth song, which like in previous tracks, showcases clear religious undertones.
On “DEARLY DEPARTED,” Dom McLennon, who many have called the group’s best rapper since Ameer Vann’s departure, spins a narrative that allegedly depicts Vann (many believe the verse is about the ex-member) setting up another bandmate to get robbed, reasoning: “I do not feel obliged to dismiss the truth because of how I feel about our time.” McLennon’s verse is raw and full of resentment, ending with a voice-cracking “motherfu****.” However, the rest of the song doesn’t hold the same weight.
Initially, the song is about what it is prayed for — a short list that reflects emotional and even economic anxiety is given. Joba then sings “Dearly departed/Look what you’ve started/I’ve been so heartless/I try, I try‚ I try,” bringing the focus to internal struggles and self-examination once again.
“I BEEN BORN AGAIN,” the seventh song of the album then puts a certain emphasis on money. We hear a transition from rapper to rapper throughout the song, one in which all the myriad performing styles are accommodated flawlessly — the voices simply connect and flow with the beat perfectly.
In the song “GINGER,” we then get pop vibes as the background vocals exalt the musical experimentation of the band. In “BIG BOY,” the group then addresses toxic masculinity through the emotional issues attached to being expected to be a “big boy.” Peer pressure is as well targeted, with Joba admitting, “Lost my way tryna change for the wrong crowd,”
“I wish you’d love me for life” is then sung in “LOVE ME FOR LIFE” — It sounds like a rather depressing song but ends on a self-love note with the phrase “I will love me for life.” The rhythm of the song at the end is also one to love.
Despite all the soul-wrenching verses in this album though, the most evocative moment on the album perhaps comes at the end from new associate Victor Roberts II, a guy who the band met online and closes the album with an eponymous story-song in first-person narrative about childhood trauma. “VICTOR ROBERTS,” the 12th and last song, is about the moment when Victor’s family was almost torn apart because he let another kid stash some contraband at his house. With its heart-wrenching storyline, the lede is stunning: “My fu**** Power Rangers couldn’t protect me from that LAPD kick, though.”
It ends in somewhat of a love note as the last verses say “And if you are hurting, love yourself with my heart, my love,” and the song goes on into closing with “Thank God for me” — perhaps the best phrase to end an album that reflected on internal struggles and self-fulfillment.
GINGER is the result of BROCKHAMTON’s brief six-months hiatus. GINGER was weirdly born out of the band’s relationship with no other than Hollywood Star Shia LaBeouf, who has become somewhat of a guiding light and now leads a weekly group therapy session at Kevin Abstract’s place. GINGER is perhaps a reflection of these group-therapy sessions with Labeouf — an attempt of the members at self-examination and understanding self-fulfillment.
Earlier in June, Abstract, the group leader, told GQ that the band wanted to make “ a summer album,” He specified: “Feel-good. Not too sad and like, ‘Oh, our life sucks,’ just more like, ‘Just enjoy what’s in front of you.’”
But the truth is, if this was truly the band’s intent, they failed miserably.
GINGER showcases BROCKHAMPTON’s emotional side, one that they have honestly always been in touch with. It is a depressing album; it is perhaps the complete opposite of what Abstract wanted. You hear the members openly rap about their trauma, making mental health and depression the main focus of GINGER and a seemingly driving force behind the group.
BROCKHAMPTON, of course, are not the first to rap about depression. Scarface has been doing that for decades. But having mental health as central focus of a song (songs for this matter) has been happening more and more lately, foregrounding therapy-talk within rap and helping remove popular culture stigma around mental health. BROCKHAMPTON are part of that context, and they take it to another level.
In GINGER, you can pry open any verse and you’re likely to find self-examining lyrics about being neglected at its center. There’s a lot of emotions and experimentation on this album, creating an unpredictable versatility that characterizes the 13-member band.
GINGER is by far one of the band’s best albums. I dare say it is undoubtedly one of 2019’s best albums too. It explores mental health, addiction, and faith in God in an experimental way. After over a year of change, it seems, the BROCKHAMPTON brotherhood still remains tight as the members continue working in self-growth and self-fulfillment. GINGER is simply pure art for the mass-culture.
