![]() On March 3, 2017, Griselda (as a collective), as well as Pennick's cousins Westside Gunn and Conway the Machine, signed a deal with Eminem's Shady Records, a subsidiary of Interscope. In 2016, Benny released his album titled My First Brick followed by the mixtape Butcher on Steroids with DJ Green Lantern in 2017. In 2014, Westside Gunn founded Griselda Records, through which Benny, Conway and Westside Gunn would self-release their own projects. He is also a part of the collective Black Soprano Family.īenny the Butcher self-released his mixtapes in the late 2000s as B.E.N.N.Y., including The Mayor's Back and Chains Bond. ![]() He is part of the hip hop collective Griselda with frequent collaborators and first-cousins Westside Gunn and Conway the Machine. Randazzo has said before that their soulful elements were always present, that “everything about this band has become more refined in nature.” Butcher Brown’s latest adventure in genre sampling feels concentrated, as if it's the manifestation of the group figuring out how to make individual jazz elements combine into something bigger and grander.Jeremie Damon Pennick (born November 27, 1984), known professionally as Benny the Butcher or simply Benny, is an American rapper. Where their previous albums were marked by freeform and borderline psychedelic compositions that had the tendency to veer off into the abstract, Triple Trey is primarily about the execution of a plan. Still, the infusion of saxophones swirling in the background makes the production feel imaginative, not just a retread. They set an impossible bar for themselves to meet with a cover of Notorious B.I.G.’s “Unbelievable,” inherently making you long for the original version’s rap prowess. “Breevin,” with its lengthy percussive breakdowns and Tennishu’s throwback cadence, feels as though it belongs in the lazy middle of a Roots set. Once he stops, Harrison’s keyboard and Burrs’ guitar kick in, allowing each member to get their moment in the sun.īutcher Brown’s urge to establish Triple Trey as a jazz/hip-hop album causes a few moments to register as derivative. ![]() Meanwhile, on “777,” little more than a drumbeat and brass section are present while he raps, reminiscent of a throwaway from Kendrick Lamar’s Untitled Unmastered. On “Git Along,” his voice sneaks into the foreground behind blaring trumpets and saxophones, which hold the structure as his raps spiral off into an improvisational whirlpool. His words beget a rousing crescendo on “Liquid Light,” granting room for shouted choruses and solos in the outro, skillfully adhering to the tenets of big band song structure by giving all his accompaniments a feeling of elevated importance. ![]() Warmth and balance are the keys to their songs: Vocalist Marcus “Tennishu” Tenney’s baritone voice acts like an accompanying instrument, nestling into the pockets surrounded by driving percussion and an inviting chorus of brass. It’s their most focused project yet, possessing the soul of a beat tape but with a larger-than-life feel. And while their albums in between explored new territory-dabbling in Afrobeats, or playing with a messy conglomerate of P-funk, bossa nova, and rap- Triple Trey exists as a direct connection to their roots. Their return to hip-hop-leaning compositions feels preordained, considering that they formed their group while religiously listening to Ohbliv beat tapes during countless smoking sessions. It makes sense: Butcher Brown was forged in a cultural drainage basin, with its members attending VCU’s jazz program and congregating at Harrison’s home studio Jellowstone.
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