Album Review: James Ferraro- NYC, Hell 3:00 a.m.


Very early on in this James Ferraro album, like within the first twenty seconds, I was already kind of like, “Ayo what the fuck is this shit that I am listening to?” Like, this album begins with twenty seconds of a weird Text Edit talkback voice saying “money,” over and over again. And then the rest of the first track is just a bunch of scary droning noises.

So who is James Ferraro? Well, his Wikipedia page is pretty sparse, so dude must love to be shrouded in mystery, like all “mysterious” producers of today. Needless to say, Ferraro is an “experimental” composer, hailing from New York (of course.) Hot on the heels of Cold, released earlier this year, he’s followed it up with NYC, Hell 3:00 a.m, which sounds like the name of the first level you play in Teenage Mutant Ninja Turtles IV: Turtles in Time.


There are some moments on NYC that are kind of aight. In a post-Burial world, everyone with working knowledge of audio editing software, money to purchase a keyboard and sampler, and a bunch of time on their hands can call themselves a producer and make a bunch of weird, fucked up, disoriented beats. “Fake Pain” juxtaposes a vocal line from “I Wish it Would Rain” by The Temptations with distant auto-tune singing, and a beat that doesn’t exactly match up with any of it.

“QR JR” sounds like it’s what I’ll be hearing in my nightmares tonight.  In fact, much of NYC is nightmarish and Lynchian. The kind of music it’s best not to listen to after sunset, or for long periods of time, or on the stereo in your home, because it could freak out your companion rabbits. “Close Ups” features more off-key, warbled singing, out of time with the atmospheric beat and rando samples popping up in the background. Ferarro’s singing has a weird child-like quality to his voice, but it’s also so unsettling making it in impossible to not be tense when listening.

(an international man of mystery with the voice of an angel.)

An artist that this is very reminiscent of is the mysterious French artist Off Love—a guy who performs with his face completely covered by a bandana, auto-tuned into oblivion, singing over creepy beats that are slight nods to 1990’s R&B/boy band music.

It’s by the 5th track, “Beautiful Jon K,” that I have to wondering who on Earth this album is for. Like is this just James Ferraro fucking around with his laptop and gadgets, making what could be called an album, and then deciding that it should be released? Who buys albums like this? Who wants to be made to feel like they are trapped in the Black Lodge from “Twin Peaks?”

Everything I’ve read about Ferraro online talks about how polarizing of a figure he is. With each effort he puts out, it’s either “this is brilliant” or “this is awful.” There’s very little room for anything in between. Or maybe there is room for something in between, because I don’t know if I can accurately state my feelings on NYC, Hell 3:00 a.m. It’s not brilliant, but it’s surprisingly not awful. It’s an album that’s both repelling and intriguing at the same time. I’m drawn in by its claustrophobic, unnerving atmosphere, but I’m uncertain when, if ever, I’d be like, “Oh hey I’m in the mood to totally listen to this James Ferraro album.”

The overall vibe that the record gives off is an odd mix of somber beauty and sheer dread. There are very brief moments that are somewhat comforting, but then they are interrupted by glimpses of terror—the bizarre cut and paste structuring behind “Ni**as,” is an excellent example of this.


NYC, Hell 3:00 a.m. is a record I don’t really see myself coming back to a ton, unless I want to scare the shit out of myself and not sleep at night. It’s strange, sloppy, and unsettling. I feel like I’m on the cusp of “getting it,” but there’s a barrier that’s preventing me from saying that I truly like this record.

Comments

  1. Give his mixtape "Cold" a try. I really was able to enjoy that record due to the more overt R&B touches. This release I enjoyed listening through but like you mentioned, it is not a big returner.

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