KingsOfKings
❄️ 𝟐𝟐𝟕, 𝖂𝖍𝖊𝖗𝖊 𝖜𝖊 𝕬𝖙 𝖂𝖎𝖙𝖍 𝕴𝖙! ❄️
The most elusive and sought after project in Mach-Hommy’s 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, it’s 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 ‘l o v e’ in the intro ‘I’, the beautifully choral boom bap of ‘IV’, or the crunching drums, airy horns and Mach’s muffled baritone singing on ‘V’. 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 it’s 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-Hommy’s 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-Hommy’s 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?
