Diaspora Problems

Soul Glo

Diaspora Problems is bold. There is no doubt about that. This is forty minutes of relentless hardcore that is largely memorable because of Pierce Jordan's insane lung capacity. The man expels an inhuman number of words per minute all while delivering them through unhinged and desperate shrieks. That vocal presence is such a constant, unwavering force, to the point where it became a serious point of contention. On one hand, there were times where I really wished there were a few more instrumental breaks so that I could give my brain something else to focus on. Listening to that much screaming without breaks legitimately grew to be uncomfortable over the course of the record. On the other hand, it is clear the band has a lot to say and every word uttered has the air of tremendous personal importance.

(Five Years and) My Family reads as a disheartening recount of Jordan's experience with mental health struggles in the context of a black family. He speaks of suffering in solitude, trying to maintain an emotionally strong image. He only reveals his struggles to his loved ones after being trusted with secrets that revealed a reoccurring story in his family history. The way the story is told is gripping and the way the song grows more and more intense instrumentally, wonderfully matches that rising tension. We Wants Revenge is a radically political tune that airs Jordan's frustration with the current state of our liberal democracy. He speaks on the horrific things he sees, the attack on his people and how he sees 'peace' as no longer a viable option for real change. Some of the lines here are downright poetic. "No one's left blind by eye for an eye unless you make the same mistake twice," he aggressively snarls. The subject of black violence is also approached on Jump!! (Or Get Jumped!!!)((by the future)), although, this time through the lens of black excellence, impact, and legacy being prematurely extinguished as a result of various traumas black communities face. That's just a few examples, but every track here is approached with the same focus and nuance, providing enough material for you to chew on for years to come.

Musically, there's not really much to say other than it is consistently heavy, throttling, and just good. I love the opener Gold Chain Punk (whogonbeatmyass?) for its brighter chorus sections contrasted with the nasty beatdown hardcore sections. I love the way John J devolves into a nasty, sludgy screamo tune that is augmented by amazing guest appearances from Kathryn Edwards & Zula Wildheart. And lastly, there are many hip-hop elements thrown into the blender, but they don't come as close to being incorporated as amazingly on GODBLESSYALLREALGOOD, especially with the bombastic drum beat that comes in before the two minute mark. The sound reminds me a lot of the TRV$DJAM collaborations, that is, if someone like JPEGMAFIA jumped on top of it.

I think this is a pretty great album. Maybe not as good as the reviews in other publications are claiming, but I feel like this might be one of those albums that I need to grow with over time. What I can say right now is that I appreciate how the band is simultaneously keeping one foot firmly planted in the 80s hardcore realm - channeling punk greats like Bad Brains - while also making room for the more desperate sounds of screamo, and the lyrical thoughtfulness and rhythm of hip-hop. It feels nostalgic, and incredibly fresh at the same time.