Two of the most innovating alternative rappers combine forces for a joint album in JPEGMAFIA and Danny Brown. As a result we see two rappers working at their creative and innovative powers, with some staggering results.
JPEGMAFIA and Danny Brown is a collaboration that certain corners of the rap community, mainly those who would be considered more online, could only dream of. Both are renowned for their somewhat eccentric yet engaging deliveries, their production choices lean left field yet their wordplay are both dynamic and impressive. JPEGMAFIA for me has made some of the most forward thinking rap music of the last few years, especially feeling that he peaked with 2021’s LP! (some special credit must go to how he handled the rollout of it, with the Offline version and its eventual release onto Spotify showing a dedication to his craft), while Danny Brown has not only been consistent but released one of the decade’s best albums in 2016 with Atrocity Exhibition. Therefore this is a collaboration that promises so much and I’d one that could see both artists combine well together.
The album kicks off with lead single Lean Beef Patty, which I remembered there was a lot of discourse around how this track was mixed when it first dropped. I can put this down to hype towards the collaboration and maybe some feeling disappointed initially. However it is still a truly fantastic track that shows not only the abrasive influences of both artists but also on an electronic side. The influence of electronic music is of course nothing you, in fact the ending of this track actually reminds of OutKast being influenced by drum and bass on their seminal Stankonia track B.O.B. (Bombs Over Baghdad), however this has been on the rise in recent years and this track is a shining example of this. It is next followed by the album’s standout track in Steppa Pig. On here we see Peggy and Danny trade bars over a truly inspired beat on here. Both ride what could be a tricky beat fantastically well, particularly Peggy towards the end and the track is a pure rush from the off and the track is complimented not only by its frenetic pace but the level of detail in the production. A fantastic way to start off the album.
The title track is arguably the album’s most experimental beat (which is saying something), starting off with a series of handclaps mixed with a sole saxophone and Peggy rapping. Once Danny Brown comes in and the drumbeat makes its way in, it proves to be a chaotic mesh of sounds that really shouldn’t work but its aggression works as a fantastic album statement, showing that they’re not hear to make music for anyone else but their own vision. This doesn’t always lead to the best results though, Fentanyl Tester is the only track on the album where the production is too much of an overbearing presence, namely through a curious sample of Milkshake by Kelis, as a result it compresses both of their abilities and doesn’t allow either rapper, particularly Danny Brown on here, to stand out to the best of their abilities. However there are moments where the manic production is simply emphatic, with Garbage Pale Kids being a cacophony of chaos and noise but somehow Danny Brown manages to make the energy throughout this work. On the latter half of the track we see Peggy at his electric best in terms of delivery and is one of the album’s best verses, continuing in the vein of form he showed throughout LP!.
Throughout the album there is so much to mention about how daring and innovative the production is, truly remaining unique to JPEGMAFIA’s production style. It would be futile to name every single track that impressed me production wise, but there are many tracks worthy of a mention here like Burfict! and Shut Yo Bitch Ass Up / Muddy Waters. However the most interesting production is Kingdom Hearts Key, which contains an anime sample and not only manages to compliment both but also newcomer Redveil, who comes in reminiscent of Imperial-era Denzel Curry and shows an immense amount of energy. The beat switch on the second half of the track is simply insane and may be up there with some of JPEGMAFIA’s best beats to date. While the production is deliberately raw by choice, overall it is an inspired decision that allows for the tracks to feed into the frantic energy throughout. One minor complaint could be that despite the many pop culture references it lyrically isn’t either’s most inspired work, particularly Danny Brown, with the beats taking away from either’s presence on the tracks. However it must be mentioned that there are times where the muddiness of the mix comes across as too distracting though, namely on Run The Jewels or the closer Where Ya Get Ya Coke From?
There’s a lot to enjoy about Scaring The Hoes overall, which shows two artists combining forces and for the most part being a worthy match for each other. Yet even on the moments where it may not properly land, it still ends up being a truly enthralling and engaging listen. The sample choices on here for the most part are inspired, with a final mention going to the bombastic God Loves You, while showcasing the measure of care that is going into the samples here. While it may be possible to note the roughness on the mixing as sloppy, overall when able to take in the album as a full and complete work of art, then it becomes a truly rewarding listen.
Best Tracks: Lean Beef Patty, Steppa Pig, Scaring The Hoes, Garbage Pale Kids, Burfict!, Kingdom Of Hearts Key, God Loves You, HOE (Heaven On Earth)
Is it the best album of 2023?: It was an album that was much hyped and eagerly anticipated, however while it mostly meets these expectations it probably is just below the level required to be the best of the year so far. However while Raven feels like a seminal album for this decade, Scaring The Hoes is still an inspired listen and is simply an engaging listen.
Initial Rating: 8/10
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