KingsOfKings
π© Donuts π©
The most elusive and sought after project in Mach-Hommyβs discography is the $3,000 jazz rap masterpiece that is The G.A.T. aka The Gospel According To Mach-Hommy. The third album he released in September 2017, it continues the jazzy soundscape of his previous effort Luh Hertz, being once again almost fully produced by August Fanon, as well as using the Mach-centric approach of no features, just half an hour of lo-fi Mach-Hommy raps. Also similarly to Luh Hertz, itβs tracks are again virtually title-less, marked only by Roman numerals from I to IX. Highlights include the deep bass, rippling keys, and musings on βl o v eβ in the intro βIβ, the beautifully choral boom bap of βIVβ, or the crunching drums, airy horns and Machβs muffled baritone singing on βVβ. But really every moment on the project is a highlight, as ask any Mach fan who has heard The G.A.T., and they will tell you it is the artist at his most unique and maybe even his best. Since itβs release the project has gained almost a mythic hype and veneration from those that listen, and it as a result it really resembles the divine moment of a gospel when the music plays.
Is this Mach-Hommyβs greatest work?
Does this project live up to the mythic hype that surrounds it?
Has its elusiveness helped or hindered the impact of this project?
Is this Mach-Hommyβs greatest work?
Does this project live up to the mythic hype that surrounds it?
Has its elusiveness helped or hindered the impact of this project?