Vinyl Review: 'All My Heroes Are Cornballs' by JPEGMAFIA

Ever since I have met Finn, there are very few artists who we enjoy to the exact same extent. There have been artists where our liking is very similar, but identical enjoyment is very rare. But, one artist who we both love equally is JPEGMAFIA. We will sit for hours blasting his albums with no complainants in the world. So, as a very late one-year anniversary of the experimental wonderland All My Heroes Are Cornballs, I asked to infiltrate Finn’s freshly-started Vinyl Review segment and asked if we could collaborate. After the request was granted, Finn and I sat down for 45 minutes and just listened. After talking and gathering our thoughts, we posed a few questions to answer of how we felt about the vinyl. Without further ado, here is our review of the vinyl.

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We should start off simple. Overall thoughts on the vinyl?


Finn: I’m sorry, but you're genuinely capping if you do not have this record in your collection. AMHAC used to be an album that was too random and “out there” for my taste. However, after listening to this album copious amounts of times, I fell in love. Luckily, Peggy’s creativity and uniqueness spans past his lyricism and production, and bleeds into his physical art. Hints of his classic “digital” style appear on the inner rings of the vinyl, and also on the back of the record cover. He contrasts this font choice by depicting himself in a mysterious, grainy photo in front of a small, barred-up cottage. Per usual, JPEG’s artistic vision exceeded my expectations. 

Marty: Wow. When I first heard AMHAC, I knew it was going to be a classic. It has been just over a year and I still think that very thought. We got the opportunity to listen to the limited-edition vinyl, and the cover art alone was beautiful. Whether it is the super unique cloth that drapes over Peggy’s face—leaving him barely exposed—or the lyrics stamped all over vinyl sleeves, you can obviously see the time and effort JPEG puts in to make his artistic shelf-life everlasting.  



On this album, there is only one feature: Helena Deland. Most of it is just straight Peggy. After listening to the vinyl, if you could pick any track to have a feature to accompany Peggy, who would it be? Which song?

Finn: The complexity behind Peggy’s production makes this decision very difficult for myself. However, after witnessing the unbelievable collaboration between Denzel Curry and Peggy on “BALD REMIX,” I do not think there would be a more appropriate choice. Each artist utilizes quick, erratic sounds in the background to complement their intense, rapid rapping style. 

Onto the song choice. I think Denzel’s tenacity would work best on “JPEGMAFIA TYPE BEAT.” This bonkers and eccentric song incorporates the usual hardcore beat each artist tends to move towards. The switch-up to a chorus of upbeat synths mixed with claps provides a perfect spot for Curry to hop on the track.

Marty: You know what would be pretty fire? A Solange feature on “Jesus Forgive Me, I Am A Thot.” If Solange would do some background vocals or possibly do a chorus, I feel like Solange’s slow and elegant vocal performances would match Peggy’s autotune in a way that would create a divine and feminine nuance to experimental rap. I feel like each of their characteristics would encapsulate the Platonic ideology “Form of Beauty” justly.  


What’s the difference in sound between the vinyl and streaming?

Finn: I personally found the pitch of Peggy’s voice to be a little on the higher side, compared to what you would experience on streaming services. I would not, however, consider this a poor thing. The way the higher frequencies of his voice complement the R&B undertones is beyond perfect. Songs like “Thot Tactics” and “Papi I Missed You” exemplify this flawlessly. The overall sound quality of the vinyl may be slightly limit