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Take A Tour Of "The Museum Of R&B" With Brandon Markell Holmes

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,

lacking creativity and imagination rather treating it as an art form. Brandon Markell HolmesThe

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.


The Museum of R&B” is earth shattering, sounding timeless and harmonious giving Brandon Markell

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.

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Erick PaigeComment
Album Review: Jyroscope - Mute

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.


Mute, Jyroscope’s latest paragon is the group’s most experimental to date. It becomes the inaugural of the

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.”

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Erick PaigeComment