Released September 13, 2019
7 / 10
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Jesus Forgive Me, I Am A Thot; Kenan Vs. Kel; JPEGMAFIA TYPE BEAT; All My Heroes Are Cornballs; Free The Frail; BasicBitchTearGas
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PTSD; PRONE!; Lifes Hard, Here's A Song About Sorrel; BUTTERMILK JESUS TYPE BEAT
Glass shatters and people scream on ‘Jesus Forgive Me, I Am A Thot’, a befitting opening to JPEGMAFIA (Peggy)’s rollercoaster stream of consciousness. In his 3rd LP, ‘All My Heroes Are Cornballs’, Peggy's fearless aura cracks as he lifts the veil on insecurities - on his own terms. It’s noisy, messy, glitchy but also melodic, smooth and catchy when it wants to be. The man in charge makes a point of doing away with traditional structures and expectations. Yet, as erratic as some parts sound, there are still focal points in abundance, melodies you can single out and pin down even in the album’s most disconcerting moments.
The music on ‘All My Heroes Are Cornballs’ is often interrupted by glitches and noise that reflect pent-up frustration with messages not getting through, the difference between the intent behind, the interpretation of and the message itself - mimicking a noisy connection between army walkie talkies, where each letter has to be spelled out to be fully understood. The opener is built on contrast; narrow and wide, close and distant at the same time. Interference appears in the form of brief glitches and ethereal distorted vocal samples whose message doesn’t leave the earphones. There are little hints of chaos trapped behind a calm delivery, sufficiently authoritative to keep the underlying tumult in check until it eventually bursts out and then returns to the simmering state. The anxious ‘PTSD’ is also constantly interrupted by haunting backing vocals, beeps and glitches. ‘PRONE!’ is more aggressive in stance and in content. It tells a story of merciless murder that rings like a resistance anthem to threats to Peggy’s very existence, personified by the controversial (and devilish) figure of Steve Bannon. It also boils and erupts in unexpected places but it sounds a bit more ‘crafty’ and half-baked than its peers. It’s also a cut made entirely from digital sonics - and that might be the source of the audible discomfort.
Peggy’s attitude on the LP is largely antagonistic. Many subject matters are tackled with a "I vs. them" attitude that fosters tension. Buttermilk Jesus (another of his monikers) is not the type to try and embody a movement or an ideology. He makes it clear that all that is said comes from him and him only. No co-signs, no endorsements. And this gives him the freedom to say whatever the fuck he pleases. Pop rap ‘Beta Male Strategies’ pokes fun at Internet trolls and challenges keyboard warriors to “say what you said on Twitter right now”, remarking “you only brave with a board and a mouth”. In true JPEGMAFIA style, he combines Internet culture and personal grievances while having a blast vocally. ‘PTSD’ and ‘PRONE!’ mentioned earlier are some of the most confrontational cuts of the record, acting as stark warnings for wise ears. Even on a reflection on mortality and the mark he’s leaving on an industry in disarray Peggy’s got an eye open looking out for adversity and those "crackers who want me dead". He runs the risk of sounding paranoid but censoring himself doesn’t seem to cross his mind as the album keeps on giving the more you get into it.
When the gaze turns inwards and the part of the brain focused on the outside is not as alert, sparks fly. ‘Kenan Vs. Kel’ breaks down after a verse of braggadocio where the first hints of unease with the outside’s expectations of him are dropped (“Niggas waitin’ on the Peg like I’m dropping’ Yandhi” is both a flex inspired by one of his biggest inspirations - or so he says - and a testament to the pressure he must feel). Self-doubt creeps in and imposter syndrome kicks in (“How we gon’ make this work? Facts / But like, how can I make a good beat? / I get nervous when n want features”). He opens up even more on a track that almost didn’t make it on ‘All My Heroes Are Cornballs’. With Helena Deland by his side, he speaks on the difficulty of letting his work live in the world outside of his control in ‘Free The Frail’. Its chorus is undeniably one of the most memorable and catchy moment of the album: the simplicity behind “Don’t rely on the strength of my image, baby / If it’s good, then it’s good / Break it down, this shit is outta my hands” is the work of magic - if you believe in that kind of thing - or genius for the more cynical. Peggy admits to feeling “a void”, like “I’m still a roach” and staning reigning queen of pop Carly Rae Jepsen (not the first time he does but always a pleasure to hear greatness recognizes greatness). Helena’s feminine energy is nice to have on this, especially as she introduces the track alongside him and her live comments and ad-libs made the final cut.
Although Peggy likes to approach a song with a generous dose of unpredictability, he still audibly nurtures a love for well-crafted melodies. Pop hooks exist alongside deconstructed industrial and experimental sounds without a hitch - ok, well, without too many hitches rather. The mellow ‘Grimy Waifu’ sees Peggy serenading a gun in a hazy synth soundscape. It meanders melodically and finds a sure enough footing in dream pop land. In spite of its lack of structural landmarks (chorus who, bridge what?), the title track doesn’t sacrifice its totem poles carelessly. It makes sure the synth riffs are as bright and clear as could be to anchor the piece somewhat. ‘Thot Tactics’, written from a seductive female standpoint, features a sticky hook and a laidback ambient synth backdrop that doesn’t let its MC get too far from. Last but not least, ‘BasicBitchTearGas’ might be dissonant and stuttering about with heavy manipulation on vocals and instruments alike; it’s still an R&B cut through and through. The ‘No Scrubs’ star-power won’t rub off this easy. In today’s musical landscape, amongst peers, JPEGMAFIA is on a radically different trajectory - a singular one, where influences and inspirations stay just that, influences and inspirations.
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