A Pitchfork Review of Saturation III by the Greatest Boyband on Earth, Brockhampton
Link: Pitchfork Review: Brockhampton's 'Saturation III'
Contributing writer Sheldon Pearce echoes his judgement on Brockhampton's third album, Saturation III, from the first two lines of the article and propels it throughout the rest of the article: the tertiary installation was more synthesized and cohesive than its two predecessors, and the best of trilogy overall. Pearce outlines the band's persona–Internet bred and born, combining pop culture, rap, and the claiming pop music is socialized by the public, putting two genres seemingly at odds with one another, for themselves–before dissecting the merit of the album. Pearce uses comparison as the assessment tool for the album, to other groups (Odd Future, similar rag-tag, Internet based rap collective) and the Brockhampton's other releases. All his critiques are targeted not on the album directly, but on Saturation I and II, juxtaposing them with Saturation III as stumbling blocks leading to the band's final form. He analyzes the album in a piecemeal fashion, identifying the individual strengths of each rapper and crediting them for the general quality of the album (Kevin Abstract's hooks, Ameer Vann's verses, Merlyn Wood's more linear but still energetic stanzas). When discussing the evolution of their lyricism, a major factor in the album's value, Pearce gives the most outstanding lyrics as example. Pearce provides a sufficient background for the band that gives readers not only an idea of the quality of the album, but the band's personality as well. His rundown of Brockhampton's origins, musical siblings, appeal and treat-rappers-like-your-pop-stars manifesto clues listeners in to exactly what pitch one should expect to hear while plugging into Saturation III.
Contributing writer Sheldon Pearce echoes his judgement on Brockhampton's third album, Saturation III, from the first two lines of the article and propels it throughout the rest of the article: the tertiary installation was more synthesized and cohesive than its two predecessors, and the best of trilogy overall. Pearce outlines the band's persona–Internet bred and born, combining pop culture, rap, and the claiming pop music is socialized by the public, putting two genres seemingly at odds with one another, for themselves–before dissecting the merit of the album. Pearce uses comparison as the assessment tool for the album, to other groups (Odd Future, similar rag-tag, Internet based rap collective) and the Brockhampton's other releases. All his critiques are targeted not on the album directly, but on Saturation I and II, juxtaposing them with Saturation III as stumbling blocks leading to the band's final form. He analyzes the album in a piecemeal fashion, identifying the individual strengths of each rapper and crediting them for the general quality of the album (Kevin Abstract's hooks, Ameer Vann's verses, Merlyn Wood's more linear but still energetic stanzas). When discussing the evolution of their lyricism, a major factor in the album's value, Pearce gives the most outstanding lyrics as example. Pearce provides a sufficient background for the band that gives readers not only an idea of the quality of the album, but the band's personality as well. His rundown of Brockhampton's origins, musical siblings, appeal and treat-rappers-like-your-pop-stars manifesto clues listeners in to exactly what pitch one should expect to hear while plugging into Saturation III.
I agree with your critique of this review. Not only does the author make his opinions and thoughts on Saturation III but he compares it to other artists to give readers a sense of their style. He also gives some history on the group and talked about previous albums. The author also focuses on some of the individual members and reviews their contributions to the album. This is a quality review because it not only provides a review of the album but also gave information on the collective and how they got to where they are now as a group.
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