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.
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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