FOOD HOUSE is the debut self titled record from music duo FOOD HOUSE, made up of gupi and fraxiom. But is it good?
So Food House is an album belonging pretty inarguably to the hyperpop/bubblegum bass genre, a genre that has exploded in the last year and a half thanks to key producers like Dylan Brady and A.G Cook working with figures like Dorian Electra and Charli xcx, as well Brady's own 100 gecs, an album that really took the genre and made it it's own, to define the genre's pop-y yet chaotic sound, a sound that also permeates this record. So how good does Food House do it?
Well, the record doesn't waste time getting into it- we're treated to chopped vocals are squeaky clean, futuristic production immediately on opener SOLE, which features the genre's trademarked autotuned vocals, and an incredibly bass section. The lyrics take a decent amount of inspiration from emo I'm pretty sure, especially lines like "I'm enemies against the world/It doesn't want me to see the sun/It doesn't want me to fall in love". Track 2 RIDE picks up where the opener left off, with this incredible clipping effect on the hook that goes really hard. The track has these lyrics about partying in the parking lot and swapping adderall "like smarties" which gives the track alot of personality.
8 NOW is easily one of the best tracks on the record, opening with more squeaky clean vocals and synths, before dropping this thudding kick drum, then when the hook comes in it goes so fucking hard, talking about how twitter gives you mental illness and 5G being mind control and the whole things just clicks so fucking hard, then this absolutely incendiary rave beat drops until the end, and then there's a quote from shadow the hedgehog. Fucking banger of a track, absolutely love it.
Track 4 is called 51129, and it's another pretty good track with a pretty catchy hook, and when it drops the song is insanely noisey but sickly sweet still. It's got some more memorable one liners like "Damn y'all got opinions like 'Okay, who's getting the best head?'"
ONE YOU KNOW starts on an incredibly aggressive noisey verse, which quickly transitions to a pitch shifted chorus, and just refuses to stay in one place too long at all- which I think is pretty emblematic of most of this record, but it does end up being one of the less memorable tracks on the record overall, despite having some great individual sections.
MOS THOSER is another contender for best track on the record, starting with a voicemail sample and a minecraft pig, and then this infectious beat drops and it just builds from there, Frax's lyrics are at their absolute best here, it genuinely feels like every other line has something quotable in it, and the breakdown at the end goes so fucking hard, before it crashes and ends on another voicemail sample. Incredible tune.
Track 7 CURSES is initially a relatively low-key cut with some more great lyrics, it's got a seriously noisey hook with some great samples, and oh my life the rave-y EDM outro is incredible, ties up the track awesomely. CLOWN NOSE has some actually quite well written lyrics, with the track largely revolving around this cute synth-y riff thing that fluctuates across the track, another less impactful track, but not bad. PHARMACY is this 94 second cut that manages to fit a whole lot in, it's insanely noisey and aggressive and references twitter, minecraft and crazy frog, all in less than 2 minutes. It doesnt end up being memorable maybe because of the tiny runtime, it feels like you've barely got time to even get a hold of the track, but it's good for the duration of it's runtime.
METAL is a trap metal track that starts with a sample asking siri if Ronald Raegan is dead, and then it just explodes- the lyrics come across as being about Frax's distrust of those around him, people pretending to like him because he's famous, which is a fairly common trope in rap music, but Frax's lyrics like "I open my heart to those around me/I feel like dunkin donuts because everybody runs" gives the track it's own personality.
Final track FORESIGHT is kind of anomalous within the genre, lasting almost six minutes- twice the length of alot of tracks on this record. It references rotting and building up and destroying, and the production has this sense of huge scale and epic-ness (for lack of a better descriptor), and the track comes across as being about an extremely dysfunctional relationship overall. After the first two verses, the track shifts to being more grounded for a verse, then almost completely disintegrates by the end. It feels like it's a song that could completely destroyed you if listened to at the right time, and it serves as a pretty good closer too.
So overall I definitely liked the record alot. It did drop off a little in the second half, but it also has some incredible tunes across the tracklist too. Check it out!
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