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JPEGMAFIA (Peggy to his fans) has spent the better part of 2019 subverting the demands of critics and fans, teasing towards his third studio album, All My Heroes are Cornballs (AMHAC); promising only to disappoint and disgust his audience. It’s hard not to read Peggy’s promotion in direct antagonism to the expectations of his growing fanbase, who have quite literally swarmed him across a spate of live tours, throughout which his body became analogue to the aggressive and gorgeous experimentalism of last year’s visionary Veteran.
“Peggy’s flow wanders effortlessly through precise, punchy bars, catchy, sung hooks and shrill, aggro bridges.”
Record opener, ‘Jesus Forgive Me, I Am a Thot’, is swallowed by the cheers, screams and clamour of his expectant audience. The powerful screams are scratched, and promptly cut, as the instrumental subsides into a melodious suite which exists as fluidly as Peggy’s own delivery, passing from confessional to threatening modes of delivery and lyrics. Peggy’s flow wanders effortlessly through precise, punchy bars, catchy, sung hooks and shrill, aggro bridges. The instrumental breathes and responds in simultaneity to each shift in Peggy’s tone. The song’s proclamation that Peggy is “a thot”, refers to Peggy’s inability to commit, or (more accurately) be committed, to a singular artistic vision or voice. The positive concept of thotishness which emerges, wherein difference and experimentation are celebrated, very much underpins the various tracks comprising AMHAC.
One of the most striking features of AMHAC compared to Veteran, is the cohesion of its mixing and mastering. Each song flows organically into the next, mirroring Peggy who quotes Malcolm X, while dressed as Princess Peach (‘Kenan Vs Kel’). The compositions, although predominantly electronic, bring acoustic and ambient sounds into the mix in such a flawless manner that it challenges preconceived binaries as to what qualifies natural or synthetic sound in music. On ‘Beta-Male Strategies’, long, inhaling synths break into short stabs of electric guitar, while on ‘Grimy Waifu’ autotuned, Glock-eroticism is interspersed with acoustic guitar and flute. At several points compositions are pulled into the background to allow conversations, studio sessions and environmental ambience take centre-stage. AMHAC admits the influence of others and the world at large to the musical process; pulling at various points from online subcultures, socio-political conflict and real-life conversations. JPEGMAFIA showcases his complex identity and ideas as part of a real-world ecology allowing it to permeate his art through to his politics!
Speaking of politics, Peggy’s are akin to his sense of identity: playfully, yet anarchistically non-conformist. “You think you know me”, Peggy’s production tag, often precipitates a slew of poetic barbs against a host of enemies, whose unearned and repressive power threatens to repress Peggy’s artistic vision or very existence. AMHAC rails at various points against demanding fans (on the titular track), alt-right figureheads (‘Prone’) and state police (‘PTSD’ and ‘Papi I Missed You’) in a scattershot but powerful manner that always doubles as a positive affirmation of Peggy’s creative project and fascinating, fluid identity.
In summation, AMHAC, is certainly the most fascinating, cohesive and experimental project you will hear this year. Its playful lyrics, serious themes and sonic experimentation are second to none. I couldn’t recommend this album more!
