This is the latest studio album (and major-label debut) from the Texas-based boy band BROCKHAMPTON. You may have heard of this group before, as they blew up in 2017 with their “SATURATION” trilogy of albums, which became some of the year’s most critically acclaimed records. The band brought with said trilogy of albums a very cutting-edge, different style of hip-hop, and one that seemed impossible given the size of the group (there’s like 13 people in the band, holy moly). Now, after said albums, the group went through some rather turbulent times: they planned to release an album called “Team Effort” in 2018, but delayed it indefinitely and announced that their 4th studio album would be called “Puppy.” However, despite a positive coming in the form of their signing to Sony’s RCA Records label, a negative came in the departure of group member Ameer Vann, after news broke of his sexual misconduct and verbal/mental abuse. The group did bounce back during the Summer, however, releasing three singles in the form of “1999 WILDFIRE,” “1998 TRUMAN,” and “1997 DIANA” on Beats 1 Radio (none of which made this album, might I add).
Now, I’m sure you guys remember this (because there’s a small chance if you’re reading this, you were one of the people that put me on to these guys), but BROCKHAMPTON’s “Saturation” trilogy were some of my most-requested albums to review, so I gave them a listen over the Summer (in fact, “SATURATION III” was my milestone 100th review). I’m glad I listened to you guys because the “SATURATION” trilogy is excellent, and I love BROCKHAMPTON. Not only is their style so cutting-edge, different, and exciting, but it’s also so emotional and gorgeous, and I’ve continued to thoroughly enjoy each album with more repeat listens. So, naturally, I was excited for wherever the group was going to go next, especially with this being considered the first of their “The Best Years Of Our Lives” trilogy. And I did enjoy the “1999 WILDFIRE,” “1998 TRUMAN” and “1997 DIANA” tracks upon hearing them the first time, however, any expectations or predictions I could’ve made went away when I found out that none of those three singles would make the final album. So, all bets are off in terms of what this could be like, but I’m still excited because BROCKHAMPTON is a group I adore, so what do they bring with “iridescence?” Is the beginning of this new era a beautiful one? Well, let’s find out:
NEW ORLEANS: Alright, so this time, there’s no “every title has the same number of letters in it” thing, they’re just going right in. Not only are they talking about their come-up, but they’re also giving us their first collaboration, with none other than…Jaden Smith? Well, that’s the last person I’d want to collaborate with BROCKHAMPTON, but hey, his appearance is much smaller so I was hoping he’d come through. Overall, the group brings more very weird, quirky, cutting-edge production here, and Dom’s verse hits hard right from the jump. Kevin’s hook is pretty fun, bearface’s vocals are much different than before but still welcome, Matt’s flow is smooth, and Joba and Merlyn’s performances are very charismatic and energetic. And Jaden’s feature actually works here, given that he’s only here for a short time and all he does is sing-rap smoothly over the hook. Already, this one is a banger. I really like it!
THUG LIFE: This track is all Dom and bearface (the latter of which makes me happy, because I always want to hear more bearface), as Dom talks all about his own negative attributes and personality traits. This one leads in perfectly from the last cut, and it’s a more moody, emotional cut with very sad keys and an absolutely beautiful hook from Kevin, bearface, and the London Community Gospel. Dom sing-raps on his verse here, and his rather broken, sad vocals are really effective, as is his rather slanted, not entirely straight flow. Not gonna lie, this song really had me in my feelings, it’s such a gorgeous cut that, even at just 2 minutes, might honestly be one of my favorites from the group.
BERLIN: What seems to be a song advocating for the end of violence, this cut has a slightly more abrasive feel to it, though thankfully it’s not overly aggressive. The track features some very weird, filtered, and really fascinating percussion, and bearface’s vocals, though heavily filtered, are really fun on the hook. Dom’s performance is really a highlight here, but it’s always a team effort with these guys, and I think everyone comes through with very energetic and memorable vocal performances with very sticky melodies and flows. The track gets rather heavy at the tail-end, but in this case, that’s not a bad thing, as it helps add some variation and makes the song really enticing.
SOMETHING ABOUT HIM: All Kevin all the time on this one! This cut, which probably has the most letters I’ve ever seen in a BROCKHAMPTON title, sees Kevin talking about his love for his long-term boyfriend Jaden Walker, who I might add helped create “1998 TRUMAN” and “1997 DIANA” as he was credited for “styling” on the song. The song is slightly slower and moodier, with somewhat downtempo percussion and some rather seductive instrumentals. Kevin’s vocals take a lot of twists and turns on this very short track, with a lot of different filters and sounds, but he makes each angle very kinetic and interesting, and it ends up being a very sweet song that, even for its short length, begs repeat listens.
WHERE THE CASH AT: Outside of one verse from Matt, this song is Merlyn’s own. Seen as something of a sequel to the song “CASH” from the first “SATURATION” album, Merlyn’s performance on this one oozes with energy and charisma, and his hook is really sticky as well. Matt’s verse is also really exciting, as his fast-paced flow meshes well with the somewhat darker electronic production and very engaging percussion. When it comes to BROCKHAMPTON, you either get the emotional songs, or the bops: this one is a bop, and it’s a damn good one.
WEIGHT: With this one, the group seems to look into their inner-demons, and talk a lot about the “weight” that they’ve carried since the “SATURATION” trilogy earned them world fame. Beyond the idea of pressure, there are also themes of self-harm, fear, drug use, alcoholism, and much more here. And with Kevin’s very sad vocal inflection on his verses, as well as the very moody synths, the sad feel is immediate with this one. The song does change to something more energetic, with a drum beat and keys that kind of remind me of a video game (I think of “Kingdom Hearts” a bit here), but it works even if the change is rather sudden. Joba’s vocals are smooth, Dom’s verse also has the sad inflection to them that worked well for Kevin, and Sammy-jo’s interlude is certainly emotional. Yeah, I dig this one a lot. Very enticing song that takes things down the emotional route that’s worked very well for the group before.
DISTRICT: The gang’s all here with this one, seeming to allude in some ways to their “new start” on the hook. The electronic production is, again, somewhat abrasive, but very pounding and really sticky. Kevin’s hook is one of the most fun choruses on the record, the flows throughout this one are consistently great, and the vocal filters many members use mesh well with said production. Maybe it was because I loved bearface’s vocals so much before on the “SATURATION” trilogy that I wish his weren’t filtered, but it’s okay because they fit perfectly, and the song ends up mixing well between being an emotional bop. I really like it!
LOOPHOLE: BROCKHAMPTON was known for their shorter “skit” interludes throughout the “SATURATION” trilogy, and it looks like they’ve got another one here. It’s just a short interview between DJ Whoo Kid and Cam’ron that talks about fame and how said fame changed friendships. The interview does have very emotional strings added to it that give it a moody feel, but as it is, it’s a 53-second song that serves its purpose as an interlude and nothing more.
TAPE: Kevin seems to embrace anger on this one, talking a lot about his disdain for writers, tweeters, journalists, and much, much more, and Joba, Matt, and Dom seem to embrace some insecurities as well. The production is a bit busy on here, and while it does capture the emotional feel rather well, I do think it's a bit too slanted and off-time for me. I do think the boys all come through with great vocal performances here, but again, some of the percussion just feels a bit clumsy and makes the song a little worse. Maybe it'll grow on me in the future, though.
J’OUVERT: What seems to reference an annual Caribbean street carnival, this song doesn’t really change much up in terms of BROCKHAMPTON’s sound, but given how weird and different their sound is, that’s okay at this point. The song has very banging production that makes it feel like a turn-up track, and the performances are very energetic, especially Joba’s (he’s definitely the highlight of the song with his smooth hook nicely juxtaposing his very shouty, harder performance on his verse). And honestly, it’s really nice to hear bearface rap a bit on this one, as his flow is really fun on his short interlude. It’s another bop, what more needs to be said?
HONEY: A track that pays respect in several ways to 50 Cent, this one has a really great lead-in from the last track, and the production feels a little less fast-paced compared to the last one. Still, it’s got a very pumping, turn-up vibe to it, with a solid synth bassline and great sampling of the Beyoncé song “Dance for You.” There’s a lot of weird sonic twists and turns on this track that really work, and the boys all sound very smooth and melodic up against these very vibrant instrumentals. This is another banger.
VIVID: Here, the boys flex just a little bit over some very dark, turn-up production with a banging drum beat and more rapid-fire flows. I love said flows on this one, as Matt and Dom bring some great technicality (I particularly find Dom’s performance fun as he switches between a more low-key inflection and a more shouty, aggressive performance very nicely). The darker production is also fantastic, helping to add another bop to BROCKHAMPTON’s long list of them, and the song is rounded out nicely by Kevin’s fun outro and bearface’s very pretty, filtered vocals on his short verse. Really like this one a lot!
SAN MARCOS: A reference to the city of San Marcos in Texas, where the group had their humble beginnings, this seems to be a message from the boys that they are leaving the past in the past and beginning again (which makes sense given that this is a new “era” for BROCKHAMPTION, and with the fact that the album title is all lowercase this time around, that also adds to it). I really love the guitars here, they give the song a very moody feel that I really love. Matt’s somewhat broken vocals on his verse add to said feel, Kevin and bearface’s vocals are beautiful as well, and I also love Dom and Joba’s more melodic flow on this song (oh, and the cameo from the London Community Gospel Choir at the very end is a nice touch, too). This is a very different-sounding song for BROCKHAMPTON, and I absolutely adore it. This might actually be up there as one of my favorites from the group.
TONYA: The first single that dropped before the album, this one seems to share similarities to the award-winning film “I, Tonya,” a film about someone who achieved stardom only to lose it to scandal. This song seems to play off of that idea of “unstable stardom,” while also having some subtle allusions to Ameer’s departure from the group. The song starts with a very sad piano melody, along with very emotional vocals from bearface that mesh well very with said piano. bearface actually takes the lead on this one, while the hook is delivered by Jazmine Sullivan, serpentwithfeet, and Ryan Beatty. This is honestly perfect for the sad feel the song is going for, as their vocals are all very lowkey and gorgeous up against the pianos. The song ends up taking a somewhat bigger feel once the drums kick in, but it still works and still feels somewhat lowkey, thanks largely to the sad inflections on Kevin, Dom, and Merlyn’s verses, and Joba’s more melodic vocals in his appearance. Said performances are all very sticky, and they help round out another amazing song.
FABRIC: The closer to the album, this one also feels a bit more emotional with some of the lyrics, but it seems to end off on a positive note with the group reiterating it being “the best years of [their] lives.” The production is a bit more minimal, with more lowkey synths meshing with some more downbeat and melodic flows and performances from the boys. Said emotional vocals are very nice, the very plucky feel of the song is very effective, and the hook is one of the album’s best. The song also takes on a slightly heavier feel to finish off, but again, it’s very effective and really fascinating. It leaves me fulfilled, but also wanting to hear more of what they have to offer. It’s a really beautiful ending to the album, and it’s another affirmation of why BROCKHAMPTON is one of the most interesting groups in music today.
I don’t know how they did it, but BROCKHAMPTON’s new era is off to a pretty damn good start. Continuing to show a focus no group of this size should be able to have, the boys create a perfect mix of songs, some of which are more emotional, and some of which are huge bops, but what stays consistent is just how enticing and cutting-edge they are. Even if the boys don’t really “change” their sound, said sound is just so vibrant and exciting, and the vocal performances are just so charismatic, that they manage to keep it interesting. What I can also appreciate is that the album features a few more songs with just one or two members, and I like how these kind of make them feel a bit more intimate and personal. While BROCKHAMPTON has always been about the team and the entirety of the group, it’s nice to see the boys get a little more time to themselves in the spotlight to really explore and give us a look at who they are. I’m sure I’m not the first to say it, and I definitely won’t be the last, but BROCKHAMPTON’s “iridescence” is fantastic, and if this is the beginning of the “best years” of BROCKHAMPTON’s life…well I can’t wait to see what else is in store.
Way to go, boys.
Favorite tracks: NEW ORLEANS, THUG LIFE, BERLIN, SOMETHING ABOUT HIM, WHERE THE CASH AT, WEIGHT, DISTRICT, J’OUVERT, HONEY, VIVID, SAN MARCOS, TONYA, FABRIC
Least favorite tracks: I guess TAPE, if I had to pick one.
Rating: Excellent
J’OUVERT: What seems to reference an annual Caribbean street carnival, this song doesn’t really change much up in terms of BROCKHAMPTON’s sound, but given how weird and different their sound is, that’s okay at this point. The song has very banging production that makes it feel like a turn-up track, and the performances are very energetic, especially Joba’s (he’s definitely the highlight of the song with his smooth hook nicely juxtaposing his very shouty, harder performance on his verse). And honestly, it’s really nice to hear bearface rap a bit on this one, as his flow is really fun on his short interlude. It’s another bop, what more needs to be said?
HONEY: A track that pays respect in several ways to 50 Cent, this one has a really great lead-in from the last track, and the production feels a little less fast-paced compared to the last one. Still, it’s got a very pumping, turn-up vibe to it, with a solid synth bassline and great sampling of the Beyoncé song “Dance for You.” There’s a lot of weird sonic twists and turns on this track that really work, and the boys all sound very smooth and melodic up against these very vibrant instrumentals. This is another banger.
VIVID: Here, the boys flex just a little bit over some very dark, turn-up production with a banging drum beat and more rapid-fire flows. I love said flows on this one, as Matt and Dom bring some great technicality (I particularly find Dom’s performance fun as he switches between a more low-key inflection and a more shouty, aggressive performance very nicely). The darker production is also fantastic, helping to add another bop to BROCKHAMPTON’s long list of them, and the song is rounded out nicely by Kevin’s fun outro and bearface’s very pretty, filtered vocals on his short verse. Really like this one a lot!
SAN MARCOS: A reference to the city of San Marcos in Texas, where the group had their humble beginnings, this seems to be a message from the boys that they are leaving the past in the past and beginning again (which makes sense given that this is a new “era” for BROCKHAMPTION, and with the fact that the album title is all lowercase this time around, that also adds to it). I really love the guitars here, they give the song a very moody feel that I really love. Matt’s somewhat broken vocals on his verse add to said feel, Kevin and bearface’s vocals are beautiful as well, and I also love Dom and Joba’s more melodic flow on this song (oh, and the cameo from the London Community Gospel Choir at the very end is a nice touch, too). This is a very different-sounding song for BROCKHAMPTON, and I absolutely adore it. This might actually be up there as one of my favorites from the group.
TONYA: The first single that dropped before the album, this one seems to share similarities to the award-winning film “I, Tonya,” a film about someone who achieved stardom only to lose it to scandal. This song seems to play off of that idea of “unstable stardom,” while also having some subtle allusions to Ameer’s departure from the group. The song starts with a very sad piano melody, along with very emotional vocals from bearface that mesh well very with said piano. bearface actually takes the lead on this one, while the hook is delivered by Jazmine Sullivan, serpentwithfeet, and Ryan Beatty. This is honestly perfect for the sad feel the song is going for, as their vocals are all very lowkey and gorgeous up against the pianos. The song ends up taking a somewhat bigger feel once the drums kick in, but it still works and still feels somewhat lowkey, thanks largely to the sad inflections on Kevin, Dom, and Merlyn’s verses, and Joba’s more melodic vocals in his appearance. Said performances are all very sticky, and they help round out another amazing song.
FABRIC: The closer to the album, this one also feels a bit more emotional with some of the lyrics, but it seems to end off on a positive note with the group reiterating it being “the best years of [their] lives.” The production is a bit more minimal, with more lowkey synths meshing with some more downbeat and melodic flows and performances from the boys. Said emotional vocals are very nice, the very plucky feel of the song is very effective, and the hook is one of the album’s best. The song also takes on a slightly heavier feel to finish off, but again, it’s very effective and really fascinating. It leaves me fulfilled, but also wanting to hear more of what they have to offer. It’s a really beautiful ending to the album, and it’s another affirmation of why BROCKHAMPTON is one of the most interesting groups in music today.
I don’t know how they did it, but BROCKHAMPTON’s new era is off to a pretty damn good start. Continuing to show a focus no group of this size should be able to have, the boys create a perfect mix of songs, some of which are more emotional, and some of which are huge bops, but what stays consistent is just how enticing and cutting-edge they are. Even if the boys don’t really “change” their sound, said sound is just so vibrant and exciting, and the vocal performances are just so charismatic, that they manage to keep it interesting. What I can also appreciate is that the album features a few more songs with just one or two members, and I like how these kind of make them feel a bit more intimate and personal. While BROCKHAMPTON has always been about the team and the entirety of the group, it’s nice to see the boys get a little more time to themselves in the spotlight to really explore and give us a look at who they are. I’m sure I’m not the first to say it, and I definitely won’t be the last, but BROCKHAMPTON’s “iridescence” is fantastic, and if this is the beginning of the “best years” of BROCKHAMPTON’s life…well I can’t wait to see what else is in store.
Way to go, boys.
Favorite tracks: NEW ORLEANS, THUG LIFE, BERLIN, SOMETHING ABOUT HIM, WHERE THE CASH AT, WEIGHT, DISTRICT, J’OUVERT, HONEY, VIVID, SAN MARCOS, TONYA, FABRIC
Least favorite tracks: I guess TAPE, if I had to pick one.
Rating: Excellent
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