The Family

BROCKHAMPTON

BROCKHAMPTON has quite the rocky story. After the hip-hop collective/boy band released a mixtape in 2016 to relatively low fanfare, the band pledged that they would not be ignored in 2017. So they saturated the market with three fantastic self-produced albums and a series of music videos that built up the collective's lore. They didn't need a machine behind them, they were the machine; a collective of not only artists, producers, and performers, but graphic designers, web engineers, photographers and videographers, working in-house and around the clock to ensure that you couldn't escape they're name, even when the music stopped playing. Their campaign was a huge success, amassing them a large and loyal following, as well as a major record deal with RCA. The band's success was quickly soured once allegations that member Ameer Vann was emotionally and physically abusive in various relationships, leading to his dismissal from the group. In my opinion, this was a major turning point for the band; you could start to see the writing on the wall. I found the music that followed to be much more somber, severely lacking in colour; certainly not as fun as the SATURATION series. The band's relationship with their fans was tested with cryptic social media messaging and failed promises. And you could start to catch whiffs of inner band turmoil, a sense that not everyone was on the same page.

Taking into account all of that, it didn't come as a shock to hear that the boy band was going to come to an end after one final album. With a title like The Family, and a chaotic, yet colourful album cover, I was really hoping the band found some new found chemistry, a particular burst of inspiration, something that would make this final album a fun and touching send off to one of the most important hip-hop groups in this modern era. Unfortunately though, there's something noticeably missing from The Family... everyone. If you were hoping to hear Joba, Matt Champion, Merlyn Wood, Dom McLennon get down on this, I'm sorry to report that they are absent. Even on the production end: Romil Hemnani, Jabari Manwa, and Kiko Merley, the usual suspects, have no production credits. Everyone is gone, save for Kevin Abstract (and Bearface who has a vocal spot and a handful of production credits).

This might be confusing to fans. I mean, having a BROCKHAMPTON record without all of BROCKHAMPTON is a pretty grand statement in and of itself. For those dying to know what happened to their beloved group, Abstract addresses the many layers that resulted in the band's break-up in the album's lyrics. For one, Abstract uses this opportunity to take responsibility for his involvement in driving the group apart. Some of it comes down to ego, revealing that he was insecure about being upstaged by his bandmates or focusing more on his solo career when BROCKHAMPTON had commitments to uphold. He reflects on his callous behaviour, expecting everyone to go along with this 24/7 show no matter how uncomfortable it made others feel. It was all in the name of art, he would rationalize. He describes how reconnecting with Ameer Vann drove a wedge between himself and other members who felt a great sense of betrayal towards Vann and wanted no association with him. And lastly, Abstract talks about his own personal struggles, specifically in regards to his alcohol consumption. He admits at numerous points on this album how his drinking during the Iridescence cycle led him to be distant from the group and dimmed his fire for creating and performing. At every moment, Abstract is nothing but forthcoming and vulnerable. "No more fake shit," he raps on Good Time, and I believe him. The band is over, Abstract has nothing to gain from lying.

Abstract of course isn't the only contributing factor to the band's demise, it's a complicated web. It's very possible that label pressures also caused the band to collapse. "Did we sign for too many motherfuckin' albums? Probably," he says in reference to the six album, three year deal with RCA. It may have been too much for the band to handle. He goes on to suggest that The Family partly serves to just get them out of their contract and that Abstract is only delivering the bare minimum, "thirty-five minutes of music." On Basement, Abstract also comments on the parasocial relationship with the fans and how that can be difficult to manage. When it comes to the rest of the members of the band and their role in the break-up, in a show of class, Abstract doesn't point any fingers. On the title track, he hints that some members might not have been as present as he would have hoped, but this is really the only time. It's quite admirable, to have the podium all to yourself, to speak on behalf of the entire band, and to not take the petty road.

The explanation for why is one of The Family's functions, but the other function is to eulogize the band, and I think Abstract handles it beautifully. It's wonderful reliving the band's triumphs, hearing about how much BROCKHAMPTON has changed the lives of everyone involved, and all the places it took them. It's also really heartbreaking to hear Abstract confess how much he misses everyone in the band and how desperately he wishes the band could continue. At the very end of the record, Abstract honours the contributions of everyone in the group, highlighting the specific strength each member had to offer. After a tumultuous album, this was a very wholesome and touching moment.

In terms of the music, it's quite classier than previous BH records. Lots of soul and gospel samples provide a great backdrop for Abstract's introspective reflections. I love the foot-stomping, hand-clapping positivity on opener Take It Back. The celestial gospel organs and synths on Prayer are supremely beautiful and nearly tear inducing. The Family has perhaps my favourite instrumental of the bunch thanks to the wonderful guitar melody that was sampled. While this sound dominates the record, we do get a few cuts that break the album's mold. Big Pussy, for example, is a whirlwind of free jazz, New York boom-bap, and southern soul all mixed into one two minute track. These instrumentals I find to be the most moving, but the production in general is impressive for how fittingly it supports and directs Abstract on where to take his delivery.

So this is the end. I'm going to hazard a guess that The Family is not the final album BROCKHAMPTON fans wanted. However, despite the absence of, well... everyone, this album still brings a great sense of closure. It allows you to get out every emotion you could possibly feel in regards to the band's end. Joy, sadness, regret, anger, pride, we feel it all so strongly because for five years, many of us followed the band loyally every step of the way. It's tremendously personal, even from an outsider perspective. In many ways The Family isn't the album we want, but I'm convinced it's probably the album we need in this moment.