The mood is wildly different from their debut trilogy, but they transitioned very well following iridescence,” successfully retaining the BROCKHAMPTON sound while still creating an entirely unique album.
brockhampton merch – A Beginner’s Guide To The Boy Band Of The Future
Ameer Vann is a rapper from the alternative hip-hop collective Brockhampton. The remaining members may not sing or rap, but are just as equal in the band, appearing alongside the rest of the Brockhampton crew in public appearances. Jabari Manwa and Kiko Merley collectively call themselves Q3 and run production. Robert Ontinient started as the band’s web developer and later added production work. Ashlan Grey is the group’s photographer and cinematographer, while Henock Sileshi (a.k.a. HK) is the creative director and graphic designer. Finally, Romil Hemnani is Brockhampton’s lead producer and one of the more outspoken members during interviews. Oh, and don’t forget tour manager Jon Nunes.
The result of that thread was a group called Alive Since Forever , which had over 30 members at its zenith and included Ameer Vann, Romil Hemnani, Dom McLennon, and Kevin Abstract – the nucleus of what would one day become Brockhampton. The four-man core split from Alive Since Forever in 2015 and created their own group, bringing collaborators like JOBA, Merlyn Wood, Bearface, Matt Champion and Q3 to the mix. They decided to name the budding collective BROCKHAMPTON”, after the street Kevin Abstract grew up on in Houston, Texas.
Brockhampton is a keenly DIY enterprise. They comprise of 14 members in total, but the ones that take much of the spotlight – Abstract, Matt Champion, Joba, Merlyn Wood, Dom McLennon and Bearface – are those you hear on record and see live on stage. But there’s a whole cavalcade of characters working behind the scenes who are just as integral to the Brockhampton set-up.
The centerpiece of iridescence, WEIGHT,” opens with a violin-led instrumental backed by Kevin Abstract’s most personal verse up until that point. The stripped-back beat allows for Abstract’s voice to take over, highlighting his shared struggles with the group. After a glitchy break in the middle, the beat becomes more intense, paving the road for McLennon’s impassioned bars about speaking to his mother and dealing with unprompted hate.
Gaining celebrity status after starting off as a humble musician seems fairly common, and yet Brockhampton’s rise to fame really does stand out for its vast mix and number of group members. Viceland producers took notice of the boys’ charm and created the mini-series, American Boyband , in 2017. The show follows Brockhampton in its early days, that is, soon after the boys moved and started living together in Los Angeles (via The New Yorker ). Across eight episodes, the series documents Kevin Abstract’s first headlining tour across the U.S. and the rest of the Brockhampton members joining him along the way. In the finale, the boys are back together and making music videos.
Is there a big, symbolic reason for this? Well, Brockhampton aren’t letting on if there is – especially now that Iridescence has bucked that trend with its sequence-breaking tracklist (though the upper-case lettering remains…). Such mystery is all part of the Brockhampton intrigue.
junkie, I was eager to dive into their latest collection and rediscover their sound. The album is the first to be released since the departure of founding band member Ameer Vann earlier in 2018. Brockhampton fans had been eagerly awaiting new music after several projects were prematurely announced and canceled (R.I.P. Puppy). At the end of my first listen, however, something felt… off.
Surviving their most challenging year as a band, Brockhampton released ‘GINGER,’ which they all agree is their best album. Now they’re on a mission to take over the world. Kevin Abstract, founder of the popular rap group Brockhampton,” did a ten-hour live stream on a treadmill on his childhood street in Corpus Christi.
The group released their first mixtape All-American Trash in 2016. Their debut studio album, Saturation , was released on June 9, 2017, followed by Saturation II on August 25 and Saturation III on December 15. On March 30, 2018, Brockhampton announced that they had signed a record deal under the label RCA Records Their fourth album, Iridescence , was released on September 21, 2018 and debuted at No. 1 on the Billboard 200 album chart. The album is also the first in their second trilogy, known as “The Best Years of Our Lives”.
To aid in the anticipation of the album’s arrival, BROCKHAMPTON has just revealed the release date for the anticipated project along with dropping a new track during their performance at Bilbao Live in Spain this past weekend.
So when Brockhampton finally got a chance to return this year, they made it count. Right from the beginning, it was an impressive spectacle. Ciarán Bearface” McDonald, the group’s angel-voiced, guitar-playing crooner, opened the set by himself, singing the Saturation II cut SUMMER” from atop a small moving platform suspended above the audience, clad in a metallic silver jumpsuit. As the song concluded, the raucous beat from Saturation III highlight BOOGIE” kicked in and the rest of Brockhampton, all dressed in matching jumpsuits, emerged from a golden jet plane on the stage held aloft by two giant blue hands. The crowd, of course, went wild.
Looking beyond the questionable ending, GINGER” is BROCKHAMPTON’s most cohesive and consistent attempt at coming to terms with Vann’s departure and moving forward as a group. The stunning instrumentals heard throughout BROCKHAMPTON’s discography wield more power than ever, due to the emotional heft and context of the album.
Ginger is far less experimental than its predecessor but also much bleaker. As soon as the ominous strings begin on opening track NO HALO,” it’s apparent BROCKHAMPTON isn’t interested in creating party jams or bangers. Matt Champion’s verse about his ex-girlfriend raiding his apartment for belongings sets the tone early, while Merlyn sings No one help me when my eyes go red” in the chorus alongside Deb Never. These brief moments of darker themes foreshadow a much heavier album; one that is seeming without hope.
While some artists thrive on studio recordings, others make a name for themselves as amazing live acts. Brockhampton falls into both categories, but its live shows are epic and sometimes used for music videos, like this one-take shot for ” New Orleans” A writer from the New York Daily News once praised the band’s high energy and ability to “seamlessly weave sing-song choruses with bada rhymes and tight choreography.” In 2018, the annual Pitchfork Readers’ Poll placed Brockhampton as number four in the “Best Live Act” category.
It’s been hard to miss Brockhampton lately: their 2017 Saturation album trilogy was named as such because the group wanted to do exactly that – saturate the airwaves until people had to sit up and take notice.
One of the biggest surprises of 2018 has been the meteoric rise of self‑declared ‘boy band’ Brockhampton. The group’s first three albums Saturation, Saturation II and Saturation III were all released in 2017, each album charting higher than its predecessor, and this year’s Iridescence reached the top spot in the USA.
Brockhampton’s first three albums were DIY affairs, recorded in homes and their own studio, which raises the question why the entire company decided to head to Abbey Road for the making of Iridescence — a big investment, especially for such a large group.
However, what I don’t love about the new Brockhampton is the absence of something more. One of my favorite things about the group is their transparency- in previous works, they tackled an abundance of social issues and almost nothing was off-limits. On the new album, however, the signature capitalization of all their song titles didn’t do much to disguise that their honesty was somewhat lacking. ”FIGHT” and QUEER,” both off of SATURATION II, started a conversation about real-world issues of racism and homophobia. They preached messages of self-love and acceptance, something that’s increasingly important in today’s society. Comparatively, iridescence felt one-dimensional.
Brockhampton have already taken over the world. Not too long ago, they were just a bunch of kids from Texas chatting on a Kanye West fan forum. In 2017, they blew the fuck up on the strength of their instant-classic trio of Saturation albums. Last year, they hit #1 with their major-label debut Iridescence And now, they truly might be the greatest boy band in the motherfucking world,” as ringleader Kevin Abstract is so fond of proclaiming. Yesterday, the rap collective took over the main stage of the Governors Ball festival at New York’s Randall’s Island Park, performing their first show in six months and kicking the fest into high gear with an hour-plus set that hit like an injection of pure adrenaline.
There’s something about Texas and its ability to produce highly talented rap groups. Pronounced Pantheon, the 10-man rap collective from San Marcos is building off groups like Wu-Tang Klan, A$AP Mob, Odd Future and of course Brockhampto n. Although those groups opened the gates, PNTHN only further widens them. They have hit the ground running since forming in March 2017. The collective has already released two EPs and has toured with acts like Vince Staples and Freddie Gibbs. Their diversity and ability to produce both chill and hype beats has put them on the radar. Recently, the group showcased their live performance abilities at SXSW. If you want to say I told you so” to your friends in the future, peep these dudes.
Ginger is deeply rooted in dealing with depression, a disease known to make those who suffer from it unable to process emotions. This dissociation closely resembles grey as it represents the lack of color in the same way depression represents the inability to feel. Despite the lack of hope instilled throughout Ginger, the album’s closing track, VICTOR ROBERTS,” ends with a simple, yet uplifting piano riff. Guest Ryan Beatty sings about his gratitude and gives thanks to God for his ability to keep going. The outro outlines brighter days ahead for BROCKHAMPTON and, by all accounts, they truly do deserve them.
The final track on the album, VICTOR ROBERTS,” features vocals from Victor Roberts, a friend of McLennon’s who has no musical experience otherwise. He tells the story of letting someone stay in his house who later ended up betraying him by getting arrested for dealing drugs. This track represents a weird moment on the record; while there are parallels between this story and Vann’s involvement with BROCKHAMPTON, it leaves the record with a strange ending that poses more questions than answers.
A journey filled with religious themes, mental health awareness and mainstream fame, Brockhampton’s fifth effort ‘GINGER’ resurrects the partially dead brotherhood that was close to burial on their previous project, ‘iridescence’. The much-discussed departure of Ameer Vann had such an impact on the last album that it didn’t meet the standard fans had become accustomed to with the Saturation trilogy. Even frontman Kevin Abstract admitted the album wasn’t as successful as he wanted it to be. Now, almost a year later, the self-proclaimed hardest working boyband in showbusiness” returns.
The colorless motif sprayed across Ginger becomes even more apparent in the video for I BEEN BORN AGAIN,” which the group filmed in black and white. Bearface whispers his intro, Abstract opts for a monotonous flow, and Joba’s verse has been pitched down to oblivion. The eerie instrumental makes for a creepy listening experience. Think abandoned circus in the middle of a forest.
Kevin Abstract, the one who started the group, is arguably the most important member of the group. While Brockhampton rappers Merlyn Wood and Matt Champion are vital to their sound, you can’t forget about producer Romil Hemnani, photographer Ashlan Grey, and manager Jon Nunes. Former Brockhampton member Ameer Van, who was kicked out of the group in 2018 due to numerous sexual assault allegations, was left off the list.