With the release of Saturation III, it wouldn’t be fair to say that Brockhampton is back – because they never left. This album marks the end of the LA-based rap boyband’s Saturation album trilogy: all released within the latter half of 2017, all packed with insanely catchy tracks that have drawn acclaim from critics everywhere.
Saturation III is a continuation of what the group has been doing for many months. This final record, consisting of more than 15 tracks, includes interludes that tie the music back to the narrative of the story that the band has aimed to portray with this trilogy. This may make it seem as if the album is simply a rehash of prior work, yet in reality it’s much more than that. The album’s singles – “Boogie,” “Rental,” and “Stains” – gave fans an exciting taste of what was to come with the full album, and excitement was what they got upon its release.
As impossible as it seems, given the sheer greatness of Saturation I and II, the band packs banger after banger into this album like never before. Brockhampton blend together old and new influences in the beats of each track. This is perhaps best heard in “Hottie,” which has such a distinct, nearly R&B rhythm that the true genre of the song and album as a whole seems more ambiguous upon listening.
In Saturation III, the group also lyrically touches on serious, sensitive topics in their lives. A vocalist of the group, Joba, later on tweeted this about one of the tracks: “I still can’t casually listen to my verse on ‘JOHNNY,’ it makes me so uncomfortable. I hope it helped someone.” Whether it be their personal relationships or their dreams, Brockhampton enfold their voices into each lyric of the album with such precision and heart.
Undoubtably, Saturation III provides more proof of this band’s full potential for the future. Not only that, this record truly attests to the brilliance of the music and the narrative of the Saturation trilogy that it concludes – with Brockhampton, there will never seem to be a need to choose between quality and quantity.
By: Ana Gomez