DANNY BROWN & JPEGMAFIA ‘SCARING THE HOES’ LIVES UP TO ITS TITLE

JPEGMAFIA spends the first stanza of the album’s title track summarizing the philosophy behind Scaring the Hoes. His debut collaboration with fellow eccentric Hip Hop artist Danny Brown is incredibly aggressive in both production and content, paying homage to creative synergy and defying expectations. The end result is a noisy mashup of concepts and subgenres that, when it works, is rewarding; when it doesn’t, it is incomprehensible.

Scaring the Hoes is dark and primal, unabashedly odd, and cruelly sardonic when it works. Brown, the beloved weirdo of the genre, connects with JPEGMAFIA, a rapper and producer who enjoys using ridiculous insults and disturbing ambient influences.  It’s simple to wonder what would result from such a coupling. So it seems logical that JPEGMAFIA himself is unsure of it: “Play somethin’ for the bitches/ How the fuck are we supposed to make money off this shit?”

Whether the record is successful or not, the fact that it happened in the first place feels fated. On the song “Negro Spiritual” on Brown’s 2019 album uknowwhatimsayin?, the two musicians’ chemistry was clear. It was clear the two see the status of hip hop with the same critical eye and have similar hangups with regard to commercial appeal. An equally cynical and appealing chorus hinted at the sociological shade they could conjure as a pair.However, this comprehensive analysis of the fledgling collaboration yields contradictory findings. Scaring the Hoes occasionally has the feel of contemporary art thanks to its boisterous, cheeky sampling, sophisticated pop culture allusions, and satirical subject matter. It is an aggressive blending of pop and experimental music that explores how thin the border between artistic integrity and mainstream appeal may be pushed.

The experiment is a success in certain ways. Many of JPEGMAFIA’s production decisions were huge successes, like as the simplified and sped-up sample that introduces “Lean Beef Patty” or the mangled version of Kelis’ “Milkshake” that serves as the foundation for the poisonous dubstep pounding “Fentanyl Tester.” When the production changes styles and tempos, often repeatedly mid-track, it might feel like a third wheel that detracts from the message rather than enhances it. When Brown mixes between his well-known party bars and sobering references to the darker side of party life, it’s clear that he is at a personal crossroads. Brown entered rehab days after the album’s release. It’s difficult to discern when he’s making fun of his previous life or contemplating giving in to it.

JPEGMAFIA often rushes through his rhymes, but when he slows down, he shows off the smart punchlines that propelled him to fame. The phrase “Black AOC” and the riff that followed it in “Shut Yo Bitch Ass Up/Muddy Waters” and the invitation to fellate him in “Where Ya Get Ya Coke From?” are highlights. By the time the album’s last track arrives, it is clear why the self-described supervillains teamed up. Their bizarre sense of humor is similar.

Another question entirely is whether the pair was successful in making the rest of us aware of their inside joke. Does Brown want to quit drinking or continue with his old habits? Whether JPEGMAFIA wants to control the rap scene or not is up for debate. Are the two ignoring commercial appeal or are they attempting to redefine it completely?

Scaring the Hoes is an uncontrollably mind-melting melodic open-palm smack. It’s creative and entertaining; a mix of experimental hip hop that uses a truly insane range of sounds and inspirations, from gospel chorus to 80s advertising. Even while not everyone will understand that mix, for those who do, it will be a frequently replayed cult classic.