Coming off of 2018’s Veteran, which was able to capture the ears for its almost indigestible palate, JPEGMAFIA is a freeform master of resonance that combines the backing love for creation through sound. He peels back the skin on this strange, but almost train wreck of a track, “Jesus Forgive Me, I Am A Thot” where JPEGMAFIA works to balance this rising chord structure against harsh bass that underlies as a crawling and striking cobra. There is this venomous danger to JPEGMAFIA where an imbalance of a roadmap combined with the schizophrenic and sudden changes in the instrumental that are scattered, but ultimately personal.
As he reaches the chorus where he describes, “I can’t feel my face, oh god. SMH, no ASMR, show me where the prophets go. Show me how to keep my pussy closed,” it is apparent that JPEGMAFIA just simply is not there in the realistic plane of existence. He taps directly into an otherworldly performance that can show some humanity, but often times will connect into something much darker and sinister. At the exact midpoint with the track “BBW,” JPEGMAFIA pulls back the Great Oz controller curtain to show a final glimpse of a slipping grip on sensibility. The instrumental of “BBW” is a soulful display that uses ethereal vocals that float above this clouded boom-snap percussive beat that feels almost authentic. It is a Sunday morning in PEGGY’s room where he illustrates, “It’s the young, black, Brian Wilson, smile at these crackers who want me dead. Fire helmets won’t protect your head, don’t get sent to Jesus filled with lead, lil nigga.”
As the performances begin to split and disappointment is all around, JPEGMAFIA reaches the atmosphere with All My Heroes Are Cornballs. Before he falls back into the night sky, PEGGY lets his screams be heard around the world as if he was a malignant shooting star.