The Weekly Coos

Machinedrum’s new album 8FOR32 takes a different turn from his previous ones, focusing more on Hip-Hop and glitch textures to the mix since his last project amped itself with these more lavish house and breakbeat blends. Though the tracks make their sight with some fantastic cuts on the new LP, the hip-hop elements bolster a new dimension of music, even when the more poppy cuts land harder. His growth in construction has shown album to album, like the hard-hitting Vapor City from 2013 to 2020’s more expansive A View of You. With 8FOR32, it’s almost like a return to his electronic/hip-hop roots; his production there has shown through varying projects by Azalea Banks and more, and seeing him work through some of these new joints and deliver a consistent thread of thought in beat form for these more conscious rappers, adds depth. Though the house and dance elements don’t subside with some of the productions/beats, it is comparable to the tame and sometimes wavering layers of the hip-hop-infused tracks. 8FOR32 is solid, as it follows a common thread of consistency, even when it hits some stalemates.

Since Machinedrum delved into creating more vocalized tracks instead of these rhythmic beats that speak on their terms, the music has treaded some comfortability, even when the breakbeat elements can come as a surprise. It makes you miss there would be more of an equilibrium between both, mostly because some of these tracks on the new album, 8FOR32, don’t have much magnetism. It’s as if Machinedrum branching sonically caused a riff that becomes too hit or miss, compared to past albums. Here, Machinedrum is going for something more reflective, having more of a thesis of the mind as these rappers focus on the topic relative to the title. Where “Respek,” featuring Topaz Jones and Ezri, has these enigmatic and bombastic layers that boast notions of having respect due to skill and more, “Heal” is more tempered, weaving glitch overtones that never clash with AKTHESAVIOR and Deniro Farrar, allowing you to feel that emotional density within their words. It’s a humbling tone, this new direction, but it still has one wishing there could have been more—more so because of some middling moments that become forgettable.

Much of that forgetfulness comes in the middle where it’s stalled by some lackluster production from a creative side. Tracks “ILIKEU,” “U_WANT,” “BLESSD,” and “HON3Y,” come through with a simple throughline that has little to offer, even with some of the vocals which feel drained and simple, unlike that of Tinashe or Rozet on the tracks “ZOOM” and “RISE” respectfully. That latter’s track has its percussion amplified as a contrast to the slightly coasting breakbeats; the synths come in as a bow tying it together and giving it more of a sense of presence. These tracks eventually transition into “KILL_U” and “GODOWN,” which blend some minimalism with the sobering drums and synths. The former brings acoustics into the mix, bridging the emotional complexities getting heard between verse and chorus; the latter is more dreamlike, letting its layers guide you through these angelic vocals getting delivered by Jesse Boykins III. Unfortunately, as much as I can praise the things I like, the last four tracks were the strongest of the bunch, since the first feels more in line with the hip-hop we hear from the artists featured.

Feature-heavy, like many of the electronic albums of this variety, the rappers shine the brightest lyrically, especially hearing them shift from their respective comfort zones as rappers like AKTHESAVIOR, Ezri, and Mick Jenkins haven’t been known for rapping over more glitch-hop/hip-hop records. It’s a fine contrast to the enigmatic and sobering vocals from some of the final four tracks, amplifying the sentiments they want to portray. Unfortunately, the Hip-Hop tracks aren’t up to snuff with more House/Breakbeat elements, but they tread a fine line you can get by vibing without caring too much about the creative limitations it seems to impart on itself. For fans of Machinedrum, they will find enjoyment flowing through them just getting to hear more original work, but at the same time, there will be a mild underlying disappointment it couldn’t have been better.