An album is majestic when listeners and lovers of music are four songs in without skipping or pressing
fast forward to the next single. Yet, an album that makes you reminisce or take you on a trip down
memory lane is pure bliss in a time where music is viewed as something jettison and easily disposable,
Museum of R&B” is that undisputable album.
Unlike his previous works “The Didactic” that serves as an appetizer to those that are on a Keto Diet and
remained starving for more (an EP of only three songs), “The Museum of R&B” is a warehouse of fine
tunes. It is organically rich in tone sautéed with soulfulness and harmonizing vocals sharp like a knife’s
jagged edge the ancestors of soul music in the celestial feel the cooing deeply in the womb apparent in
songs like “AI” featuring soulful hummingbird Kiara Lanier and the pulsating “What Happened.”
Holmes virtuosity is steadying traditional soul R&B seamlessly to the modern soundscape, which many
artists find it both hard to balance. Yet, he strives to be his contemporaries Seal, Carl Thomas, to Raheem
DeVaughn whereas paying homage. Indeed, he makes a convincing soul sensation and not a one hit
wonder prevalent in the music industry.
The crooner vocally masters the art of seduction by romanticizing the slow-burner “34510,” giving it a
galactic orgasm of its own. The dreamy and soaring “In the Dark” is a song that best describes karma. It
comes across as glorious and painstaking as he parts from his former significant other. His vocals in song
give the concept of karma a haunting and tormenting aura of reaping what you sow rather doing causing
mischief to the other person. Holmes finds love again with “Brand New Boy,” detailing how much she
means to him while changing his life for the better. The flip side of slow jams and midtempos is the
assorted “Adore,” a fun and funky house track that gets the crowd turnt up.
Holmes ground to widen his horizons musically. He is a few albums away from being seated with the
greats of soul music who paved him the way. Brandon Markell Holmes did not come to play. He is here
to fortify his musical legacy.Read More
We are now witnessing the inclination of music at greater lengths. This catastrophe stems from the
oversaturation of weekly music releases absent of great marketing where artists are not only in
competition but utilize a plethora of maladroit publicity stunt fuckery to garner attention and music sales
increase. Not to mention the music industry creates a wanderlust of talentless one hit wonders than invest
in artist of quality and caliber.
Foremost, this tragedy is also evident in hip-hop enveloped from the death of poetics that gave the genre
her birthmark, the execrable messages delivered as meaningless, obstructing, to absenteeism in music,
and the incapacity to produce something impactful yet significant.
It is artists like Chicago’s own Jyroscope (comprised of group members I.B. Fokuz, Collasoul, and DJ
Seanile) that are appreciated for their artistic propensity, yet go unnoticed. The group, who also make up
what is considered the Wu-Tang Clan of Chicago Tomorrow’s Kings, have always been known to have
taste in artistry, eclectic, and masterful in their craft. These puissant emcees who serve as a protean
community of artistic thinkers and lyrical philosophers contemplate outside the box by incorporating
different genres that seamlessly blend to their hip-hop soundscape. This is evident throughout their
substantial music catalogue. Two-thousand eleven’s Ragtime and 2016’s On the House are strokes of
hip-hop genius complementary to ragtime and house music genres.
group’s music career as they bridge ragtime and house genres with infused rock and a smidgen of
alternative to their hip-hop powerhouse without compromising to the current signature sound in
mainstream. “Quasi” and “Eternally” is the group’s razor sharp lyrical dexterousness and affluent
storytelling at best. While Jyroscope is mostly known for their hardcore demeanor, they can come across
as witty and satirical. “Boys and Girls Club” is archetype. The anthem partially speaks on the Chicago
music scene as segregated, cliquish, and privileged as a whole evident in the lyric, “The Internet is cruel/
Your children are too/ Some people live high school/In the clubs like he can get in but not you.”
The album goes from lambent to tenebrous in content and in sound with the group’s most truthful
“Relationship Goals,” exploring and examining a society fixated on people of color yet fearful of them.
The scratches provided by DJ Seanile fused with President Trump’s speech in the song’s beginning fuels
Jyroscope’s thought provocation while complimenting their lyrical ammunition. “I Am Everything”
highlight the growth of each member as artist foremost men that live by principles, morals, ethics
apparent in their poetics, “Father/ Husband/ Brother/ Lover/ Martyr/ God / Uncle/ Cousin/ Teacher/
Listener/ Pupil/ Provider/ Protector/ Warrior…King/ I Am Everything.”Read More