Gah!!! Boo! Eek! 

 Are you scared yet???

JPEGMAFIA, also known as Barrington Hendricks, is an Artist, Rapper, and Producer, born in the internet age. At his core, he self-produces 100% of the music he puts out, and that is definitely a rare trait in 2024. JPEG has released four studio albums, under that moniker, all to critical acclaim, and has amassed quite the following. He also has a handful of releases dating back to the late 00s under the name Devon Hendryx, including 2013’s The Ghost Pop Tape, which some say started vaporware as we know it. Some may say his sound is left-field, and many would say his genre is “alt hip-hop” or “experimental rap” which can be true at times, but there is much more to unwrap.

Enter Danny Brown, Detroit legend, rapper, and borderline comedian. Best known for 2011s, XXX and 2016s Atrocity Exhibition, Danny Brown, stylistically speaking, is one of the weirdest sounds in mainstream hip-hop, whether it’s because of the production, bars, or simply the tone of his voice. Danny is often hilarious on the track and known for just saying some out-of-pocket things at any given moment.

I hate that I have to say this, but if it wasn’t glaringly apparent, these two have gotten the wrap of being “hoe-scaring music”, hence the title of the LP. What better duo than DANNY BROWN and JPEGMAFIA to amplify each other’s quirks and eclectic qualities. While the title is a bit tongue-in-cheek, the music packs a serious punch. 

SCARING THE HOES, VOL 1, released on March 24, 2023 through AWAL and Bandcamp. As we approach one year from the release date, I can say that this has already aged like fine wine. The most notable thing about this entire project, (that is also quite impressive) is that all of the production was done using one 404 machine, the Roland SP-404SX to be exact. This is the late 90s/early 00s era tool with pretty limited functions, considering Logic Pro and FL studio and everything else at the fingertips of creatives in the modern era. JPEG seemingly took this machine as a creative constraint, to see how crazy he could get with a lacking toolbox. That is something that many talented producers today could not do. This is truly a flex from Peggy, as he did 100% of the production on every track by himself, on one machine.

Many speculated on what this project would look like, considering how different these two are stylistically, and what the production would be like since they were trying to “scare the hoes.” I can say that they delivered in the most unexpected way possible and the album is a must listen for anyone interested in rap in the modern era.

THE REVIEW 

TRACK 1

LEAN BEEF PATTY

• First launched as the main single for this LP, this track is loud, in your face, and very heavy-hitting. Peggy sounds angry and this instrumental switches up before Danny’s verse is gnarly. Witty bar after witty bar, and a comical ode to @leanbeefpatty Instagram fitness influencer, this track is high energy, a beautiful opener, triumphant, proud, and a perfect lead into track two. 
• 9/10

TRACK 2

STEPPA PIG

• Danny comes in on a pretty toned-back drum kit and his voice is so apparent here, so frontal and catchy. More synths and horns are heavy sticking around on this track. Peggy comes in with faster bars to match the blipy bridge in the instrumental. Droning keys and boings bounce around the soundscape, and JPEG takes over this song, going on for a while. This is more relaxed compared to Track 1, but just wait.
• 8/10

TRACK 3

SCARING THE HOES

• Title track. The first thing that is so ear-grabbing is the claps. The chorus is funny with lines like, “Stop scarin’ the hoes — we don’t wanna hear that weird shit no more, what the f*** is that? Give me back my AUX cord.” and “Where the autotune at?” Then the sax comes in, mixed so goddamn loud, and I love it. This song is so obnoxious, and I presume that is exactly what Peggy was after when he cooked this up. Sax, claps, and loud ass drums. Catchy bars. A perfect track for this album.
• 10/10

TRACK 4 

GARBAGE PALE KIDS

• One of my favorite cuts, Danny carries this track and has some great lines, it’s almost addictive. The sample stands out here, sounding like a marching chant almost, droning on through the entire track, yet carrying it at the same time. It is actually a 1980s meat packaging commercial. WTF! This song hits just like the title track but in such a different way. The last thirty seconds also feature Peggy going crazy on an electric guitar.
• 9/10

TRACK 5

FENTANYL TESTER

• Top three for me on this LP. The sample is GENIUS, so many little beeps and boops and what I would call ear candy. Peggy knows how to make a damn beat, as the layering and breaks are perfect for keeping the listener fully engaged and confused and impressed all at the same time. About halfway through this track on first listen you can almost hear the sample then at some point it clicks, probably in the last minute or so. Milkshake by Kelis is cut up for the whole last 45 seconds. What an interesting choice to leave this whole segment in, but I love it. At this point, five tracks in there have been some incredible range and clearly, these guys are coming with heat.
• 10/10

TRACK 6

BURFICT!

• A complete switch up from the last two, back with the horns, front and center. Danny sounds excited on this one and it sounds like a victory lap. Peggy name-drops many politicians and famous people on this one and puts it all out there. My only complaint is that I wish this track was longer, coming in at just two minutes it’s over by the time they get warmed up. 
• 9/10

TRACK 7

SHUT YO BITCH ASS UP / MUDDY WATERS

• Another complete switch-up and technically a two-part track. Danny shines almost exclusively on this front half of this, speaking on substance abuse, King of the Hill, and McDonalds. Halfway through the track, it transitions to Muddy Waters, a spacier and tighter version of the darker and heavy-sounding first half, and Peggy also speaks on substances and famous people again. Catchy and fun, yet a very different tone.
• 7/10

TRACK 8

ORANGE JUICE JONES

• My favorite sample from the whole LP is on this one, it sounds like driving with a beautiful sunset and is very soulful. Danny’s just bouncing on top of the beat and makes it seem effortless. Before Peggy comes in, an Apple notification ping comes in, something he does frequently in his production. This track is definitely much more accessible than some of the early cuts. Muchl needed. 
• 9/10

TRACK 9

KINGDOM HEARTS KEY ft. redveil

• This track is probably the fan favorite, and for good reason. Redveil is also the only feature on the entire LP, which is also definitely an interesting choice, considering all of the great MCs that these guys could have asked to hop on. As for the track, everybody hits equally as hard, but if I had to pick, redveil’s verse is the meanest. It is nearly impossible to not headbang to this cut. Peggy has classic bars about his hairline, Biden, and NBA stars. The track is littered with video game noises and tags, adding to the effect. Danny name-drops Robert Downey and offers us a sort of break before redveil comes in HARD. A stank face is mandatory with this verse, not expected, but what was with this album? 
• 10/10

TRACK 10

GOD LOVES YOU

• Definitely one of the catchiest and in my opinion the funniest cut from this LP. The gospel sample and dirty drums are so addictive. Danny carries hard with bars about pretty much anything sexual and related to the bible. This juxtaposition is likely offensive to some but offers great comedic effect and probably made me laugh just at how bizarre it is. Also, at the last minute, there is a Ski Mask The Slump God line just thrown in there for fun. What? This track is a killer.
• 10/10

TRACK 11

RUN THE JEWELS

• The sax is back, loud, and almost annoying (in a good way). Peggy sounds angry here as the sax wails and the drums pick up, turning into almost a breakbeat, high-energy track. Danny comes in with the same energy, and then the track is over. Only one minute, shame.
• 8/10

TRACK 12

JACK HARLOW COMBO MEAL

• My favorite song title on the whole album, Jack Harlow Combo Meal, offers us a more laid-back and piano-driven instrumental with all of the classic Peggy production traits. Danny dominates the first half, then the beat breaks down and Peggy harmonizes, sounding much like he does live when covering Carly Rae Jepsen’s, “Call Me Maybe”, finishing with a nod to Christopher Nolan.
• 9/10

TRACK 13

HOE (Heaven On Earth)

• Another key-heavy song, with a slower bpm than the prior tracks. Another gospel sample as well, but in quite a different fashion to the previous tracks. Danny raps about felonies, fentanyl, and therapy, all on the nose. This track is perfect in the placement of the album. Peggy lets the sample run for the last half, giving the listener a second to digest before entering into the last track.
• 8/10

TRACK 14

Where Ya Get Ya Coke From?

• Probably my least favorite track, due to it ending on a loud and boasting note, yet still great. The instrumental is LOUD, featuring taps, clicks, brightly mixed drums, and some cleverly placed keys. Danny has more bars than Peggy here, and it ends on a sharp note.
• 7/10

Overall, SCARING THE HOES absolutely delivered on the concept and highlighted both of these artist’s strengths. There are simply no weak songs on this, it is heavy-hitting, ebbs and flows, and is entertaining the entire length. It is a tad on the shorter side, coming in at 36 minutes, yet it achieves everything someone would want with shorter tracks, extreme range (considering the machine limitations), and A-tier sampling. Aside from being fun in concept, the music is actually good. With the idea of making semi-obnoxious and music making fun of themselves, SCARING THE HOES may indeed do just that, but also bewilder us at the same time.

Overall Rating: 9/10

Special Notes: a “DLC” (Downloadable content) expansion pack was released in July, adding four new tracks. None of these really do something that the main LP didn’t accomplish, yet it is a welcome addition. There is an alternative tracklist with these songs included, which is fun for fans to compile into a playlist to get a full 51-minute experience. My favorite from this is “Tell Me Where To Go” due to its laid back sample, sounding like an early 2000s cut.