Freakout Weekender: Armand Hammer
In contrast to many of their hip-hop peers, NYC's Armand Hammer (aka billy woods and ELUCID) rap with a grittiness, precision, and urgency that convince you that much is at stake every time they step to the mic. Fans of '90s underground-rap powerhouses such as Def Jux and Rawkus and of heavy, angel-dusted unit New Kingdom will get shivers of nostalgia while listening to Armand Hammer albums such as 2013's Race Music, 2020's Shrines, and 2021's Haram, the latter slightly more accessible yet still disorienting, thanks to the Alchemist's production. AH's best backing tracks privilege the funk while letting in elements of melancholy (doleful flute, eerie strings, unnerving drones, pensive electric piano chords), engendering contemplative moods and agitational stances with equal measure. These MCs manifest what feels like centuries of righteous racial grievance in their cadences and verbals, and high-IQ catharsis ensues. Lest you think this is a dour listening experience, Armand Hammer's tracks resurrect and enliven the concept of KRS-One's “edutainment.” Compelling sonics swirl amid riveting verses that abound with interesting metaphors and allusions, leaving you feeling nutrient-rich afterward. This isn't really party music, unless your idea of revelry is a rally to discuss reparations. If there's a better hip-hop group named after a deceased billionaire businessman, I've yet to hear it. DAVE SEGAL