Introduction
My first introduction to JPEGMAFIA (“Peggy”) was in 2018 while I was in college. A friend of mine showed me his album “All My Heroes Are Cornballs,” an album that I couldn’t tell you what a single song on it sounds like to this day. Because of this, it would be conjecture for me to say exactly what it was that turned me off from that album, but I did not enjoy it.
As the years went by and his albums continued to gain acclaim, I would occasionally return to his music and give it another shot, but things just never stuck with me. For me the beats were too experimental and discordant, his flow and voice weren’t the easiest for me to get into, I didn’t understand the EDM elements, and so on and so on went the barriers to me enjoying Peggy’s music. This even resulted in an identity crisis in 2023 when he and Danny Brown released a joint album called “Scaring the Hoes.”
I have always considered myself a fairly conservative person as it pertains to interpersonal relationships, but this album called that into question as I felt a bolt of fear shoot through my heart upon pressing play on that album. I was forced to look at myself in the mirror and peer beyond the panic that raced through my heart at the blaring drums and loud gritty vocals and truly and objectively consider: am I the hoes?
I am being facetious, but there is some truth to this statement. The term “scaring the hoes” is a pretty broad one that refers to music that is not easily palatable, either due to its unorthodox, disturbing, or overly technical instrumentation or lyrics. Put more simply, music that might make women leave the function is usually a telltale sign of the function coming to an end. As a music enthusiast and a budding hip-hop head, I tend to consider myself someone who has the work to appreciate this type of music, my inability to lock into it set a mild frustration for me for the past seven-ish years. That was all until August 1st, 2024.
On the very first day of my birth month, I was gifted “I LAY DOWN MY LIFE FOR YOU” providing me with an incredible body of work, as well as gifting me the keys to finally unlock the perspective in order to appreciate his previous albums.
And now that I am on the other side, I must say that everything that made JPEGMAFIA difficult to get into, are the same things that make him such a unique and refreshing artist to listen to. This album is a beautiful Frankenstein mix of rap, rock, EDM, and more, that he is somehow able to synthesize into a cohesive sound throughout the entire album. His bars and subject matter are one of one, and he really displays all these elements of his identity in spectacular fashion on this album. It is important to mention that he produced every single track on this album, meaning that the incredible curation of sound on this album is a direct extension of his talent, and deserves its flowers.
I think that this is one of his most accessible albums yet, despite how wild and dynamic the album’s sound is, but I will get into that later. Again, I am not going to be talking about each and every track here, but I do encourage listening to this album in full, and from beginning to end. I don’t think there is a chronological narrative you would miss by skipping around, but I think this album is sequenced very well.
Because I had the incredible luck to attend one of his concerts from his I LAY DOWN MY LIFE FOR YOU tour. I am going to post some of those videos here.
Review
i scream this in the mirror before i interact with anyone
“If I was an NBA player I’d be DIllion Brooks, but worse.”
What a first line! It communicates so much character and humor before the drums even start coming in. The instrumentation of this track is like listening to a live rock concert, complete with all its tart sound distortion, accompanied by Peggy’s energetic rapping. The song structure to this song is unorthodox, cresting multiple energetic climaxes, underscored by wailing electric guitars and crisp drum hits. It’s a great way to open up the audience for the album’s irregular sound, while also highlighting Peggy’s voice and personality.
SIN MIEDO
With greetings out of the way, the next song is a full immersion into the wild explosion of energy that is much of the first half of this album. It starts with Peggy yelling over a loud stuttering sample that builds until the beat drops and the base comes punching through in a blood-pumping staccato. The song progresses through various different phases from there, passing through elements of rock, EDM, and pop that is just an absolute bop.
I’ll Be Right There
From there we get a moment to breathe over a sparse and glittering sample beat that centers Peggy’s rapping, sharing various braggadocious bars, and reiterating for the second song in a row that he has issues with his barber (he is bald, and even has a song about it lol.) His bars are amusing and entertaining, but honestly, his flow fits the beat so well, you could just zone out and vibe out.
It’s dark and hell is hot
You are immediately teleported into the middle of a Brazilian dancefloor with the heart-thumping, hip-shaking, head-bobbing sample of “Upa Upa Pocoto” by DJ RaMeMes. Peggy later joins in with his same urgent and energetic delivery, dissing other rappers generally, and Drake specifically, accidentally giving me yet another anti-Drake bop this summer.
New Black History
This is some of the more classic “scaring the hoes” type music, with a weird ass, dusty, boom-bappy skeletal beat flip of Future’s “Covered N’ Money” that features two dudes just spitting bars, and Vince Staples is a perfect partner for the assignment. This track also ends on a beat switch into one of the craziest beats on the album that I’m so mad that no one rapped over.
don’t rely on other men
The EDM and rock vibes continue in the next song with another beat pull of crisp drums getting absolutely curb-stomped by the base, rounded out with ambient bells and whistles (literally), crinkling materials, and whatever the hell else Peggy caught by his mic while recording this. This all culminates is a gorgeous guitar passage at the end that feels like
vulgar display of power
This song starts with a gorgeous twinkling sound, almost like a music box, before suddenly transforming into a tart guitar riff that is soon joined by drums and Peggy’s chanting voice. Peggy delivers rap verses as well as grunge vocalizations and chanting choruses. The beat is a clear rock beat, but is beautifully cut through with scratches, creating a blend of rap and rock that we suffered through Limp Bizkit to achieve!
Either on or off the drugs
With one of the most gorgeous soul sample beats I have heard this year, this track is perfection to me. Peggy is rapping about various issues that he has in his personal life, and throwing out various disses that may or may not be directed at specific people or not, but honestly it sounds so good I couldn’t care less.
Don’t put Anything On the Bible
Is this song here primarily because of its production? Yes, and I don’t care, this is my album review! This song features Buzzy Lee who opens up the track with absolutely angelic vocals. The beat then switches to a relaxing guitar melody over which Peggy delivers a smooth verse with his trademark mixture of storytelling, disses, observations, and one-liners.
I recovered from this
I don’t know how to express how ethereal the instrumental of this song sounds to me! Peggy has such an ear for melodies, and he picks a perfect one to use as a reflective backdrop for the album’s conclusion. At the end of the song he repeats his last bar and then says with a sigh “alright, that’s it man! I’m done. I finally finished!” talking about the album, but it truly feels like a catharsis for all the chaos that embodied the first half of this album.
Conclusion
After I finished this album, I was honestly blown away! It is the kind of feeling that makes me feel excited to continue trying new music because I get gifted with these surprise gems.
As it also happened, JPEGMAFIA was also scheduled for a concert on August 10th, a mere nine days after the album dropped. I debated for a while whether I should go, but ultimately decided that I couldn’t miss the opportunity, and as you can see I think I made the right choice!
This 14-track album is perfectly split down the middle when it comes to vibes. I would listen to the first half if I wanted to go to a rave, club, or mosh pit. It’s full of explosive energy, aggression, and instrumentation that feels euphoric and cathartic to synchronize with.
The second half of the album feels much more introspective and reflective, and honestly pretty melancholic. It’s almost like the sober thoughts beneath the noise that consumed the first half of the album. Despite the tension that can be felt in these tracks, it doesn’t bog the energy of the track down at all and only seems to intensify his delivery. I would play this half of the album at kickbacks and picnics, where the sparkling instrumentals can truly shine.
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