BROCKHAMPTON Appreciation Thread


SATURATION III has been released!!!

-Halfway through. I enjoy JOHNNY, STUPID and BLEACH all more than BOOGIE so far and that’s…God, saying a lot.

-Hottie is weird, GOOD weird

-The beginning of Sister/Nation, good god. The rest of the track, also good god. This album is just whatever it wants to be, isn’t it?

-Halfway through Rental and I’m tearing up. These boys.

-Really like how relaxed Stains is. Wish it was longer. So far my biggest criticism of this project is that I wish one song was longer. That’s pretty good I think.

-Team is extremely similar to the other “Bearface ends our album” tracks but after all, only three of them exist and they’re all great. This definitely feels like an ending, and if they didn’t already reveal there was another studio album coming, I would legitimately think Brockhampton was over.

I need to listen way more, but Saturation III feels more accomplished than the previous albums. Not always as fun, and some of the members have taken a real backseat, but… it might actually be the best? I didn’t expect to be saying that tonight.

Oh god they’re not done


So on first listen Team is my favorite, Rental at a close second. I think I like the album more than Sat 1 but a teeny bit less than Sat 2.


They had to break us down before they could build us back up <3

I haven’t listened through the whole album yet, but RENTAL alone has me feeling strong emotions. Emotions like happy, and dream of a better tomorrow, and cry.

Wait Whatttt


The fact that these albums connect in an infinite loop definitely means I’m going to have to listen to them that way pretty soon.


thats funny cause one of my first thoughts upon finishing was “oh wow that does not loop back into boogie well” so now i can’t wait to hear it in the full intended experience


oh my god you people are getting me so hyped to get home and listen to saturation 3 then all of it in sequence ffffffffffffff


First impressions are positive. Stand out tracks so far are JOHNNY, HOTTIE, SISTER/NATION, and STAINS. The fact they were able to actually put out 3 quality albums in a year without feeling like they were full of filler is pretty amazing.

Not sure how this ranks compared to to others albums, gonna require more listens. I don’t think any of them has hit me as hard as Sat. I on first lesson but that might because it was so unique.

Edit: Joba’s verse on JOHNNY is just…man so good


First listen of SAT III didn’t hit me as much as expected. There are still some parts that caught my ear, but I suspect I’ll need another listen to really appreciate it.


I was sleeping on BLEACH, BLEACH is very good. I see people down on HOTTIE but I like it. It’s very poppy, but I like hearing them trying to do something different. It’s no STAR or anything, but I’m a fan. I also like MILK a lot though so I appreciate the non-bangers.


I love HOTTIE. I am actually fairly critical of the 1st Saturation for having too many slow tracks that were more poppy, but by this point, they have figured out how to do that in a way I love that does not slow down the album.

Maybe the only criticism I could give the album is that it doesn’t go as hard as I or II at their most aggressive points. I don’t feel like that’s a problem for me, though.


just looped all 3 albums. the transitions between the albums are reeeaally solid, i think my fave is actually how SUMMER goes into BOOGIE

the boys have done it again!


I have kinda mixed feelings about the album as a whole compared to the others but the last minute of BLEACH might be one of the best pieces of music I’ve heard this year. Also ALASKA is gonna be slept on and I agree that STAINS is a highlight. I’m actually way more into their sort of less energetic tracks like this (BOOGIE is a bit much for me tbh). It’s hard to come away from these albums without feeling like it’s something I’ve never really heard before, and this is the third time I’ve had the feeling. Brockhampton and Anderson .Paak are really the only artists I can think of right now that are making hip-hop this colorful and varied.


Now THAT’s what numbering consistency looks like.
naming consistency


The more I listen to SAT III, the more I like it. The vastly expanded production quality (Romil really stepping it up), the way tracks connect to each other instead of the way things previously just cut off. Matt Champion fighting himself for best verse. The surprise turns of so many tracks being more established than the beat change-ups were previously.

If you don’t think it’s your favorite of the trilogy, you must at least agree that it’s the most polished and experienced-sounding.


Just popping in this thread to mention them signing to RCA records. People to seem to have very mixed feelings about it and there’s a whole lot of folks on twitter throwing around the old “they’re selling out” bs but it’s all good to me. Looking forward to the album this summer, and if they feel comfortable getting it done with the help of big label then so be it. We’ve all seen what they can do from scratch, hyped to see what they can do with resources more readily available.


It looks like they are still in control, I mean if RCA is good enough for Gambino then no doubt Brockhampton will be sweet.


People get this idea in their head that labels assign every artist a stuffy guy in a suit to follow them around and make sure their music doesn’t get too creative or fun which is like a very fundamental misunderstanding of their relationship with artists, I’m not worried


I’m willing to accept that record labels have finally figured out how to work with artists who were raised on the Internet and profit together, because at this point they HAVE to. There are probably some boyband-like things that Kevin wants to achieve which RCA can help with.

I hope that everyone will stick together and no one will leave/have bad blood. I hope the business arrangement is no more complicated than whatever it was before. (I would really like to know more about how BH handles money, actually)


I don’t really think this is accurate.

When I hear people have signed with a “big” label, I think that they are looking to turn a profit. _Technically _ speaking there isn’t much BH can’t do without a label, the label just makes things easier but also gives them more of a potential to make money.

I am ALL for artists making it big and getting cashflow from their art, but I do worry about how BH could become more “commercialized” because RCA gives them money, and they expect to make more money in return and “artsy” genre-bending boyband rappers might not make as much money as RCA would like.

BH will be okay, and I’ll still listen to them, but saying having a label won’t change them is sort of ridiculous because if it didn’t change anything they wouldn’t sign. What people need to understand is that if handled correctly the change can be a good thing.


Brockhampton has at this point risen to popularity very quickly using a DiY approach to production and marketing, and they’ve clearly waited to sign until they found a deal that was on very favorable terms to them, so I really just can’t get behind the fear that RCA has a real interest in pushing them, even gently, into making their music more radio-friendly or “commercializing” them.

The rules are different than they were before. Soundcloud and bandcamp have changed the landscape going forward, and in many ways it seems in the artist’s favor. Labels are taking notice of musicians who have already made a name for themselves and have gained prominence on the internet, and in many cases they’ve already honed a distinct style and proved that style is hugely profitable. I also think putting out three albums on their own is evidence enough that BH is more than willing to bail on a label and go back to doing their own thing if the situation gets uncomfortable for them (we don’t know the details of the contract but I doubt they’re bound to work under them forever).

Also, just to add, the way people throw around the idea of artists wanting to make a lot of money from their creations as some sort of evil thing irks me a lot. BH is a large group and I imagine all of their members like to eat and sleep in a bed. If they found that the only way for them to continue making their art in acceptable conditions was to partner with a label, more power to them. (I’m not pointing this at your post I hope it doesn’t come across that way, it’s more pointed at the people I’ve seen saying they’ve sacrificed making good music just to be rich)