In hip-hop, it’s said an ear-piercing and definitive voice is worth its weight in gold. If that’s true, New Jersey’s underground rap purist Mach-Hommy’s intonation is worth millions. Since his departure from rap super label Griselda, Mach has been unequivocally discreet, dropping independent mixtapes from the shadows. However, Mach and Griselda boss Westside Gunn have had their reunion with Mach’s latest project “Pray For Haiti,” executively produced and curated by Westside Gunn.

Pray For Haiti, is easily Mach-Hommy’s most ambitious project to date, featuring relentless and refined bars over dusty, yet lavish Griselda drumless loops and chops.

Mach is one of the most unique acts in rap at the moment. He wears his influences on his sleeve shamelessly, yet carves out his own soundscape and style that is ruggedly exclusive to the Haitian emcee. With strokes of MF DOOM and Jay-Z, Mach blends his idols’ characteristics with those of contemporary avant-garde hip-hop. Pray For Haiti, puts his artistic versatility center stage. Whether he’s rapping over minimalistic, dreary beats (“Murder Czn,” “The 26th Letter”) or far more eccentric, in-your-face production (“Makrel Jaxon,” “Kriminel”), Mach is a master of almost every stylistic facet of hip-hop. “Pray For Haiti,” is Mach realizing and acting on his natural talent as a rapper and he makes sure the listener is aware of that on highlight “Makrel Jaxon,” “Next tape you might hear me sliding on flamenco or calypso, maybe you should tip-toe.”

Westside Gunn’s curation of this project benefits Pray For Haiti incredibly. Almost every project released by Griselda is a masterclass in production. Because of their consistency behind the boards, the quality of Griselda albums is best determined by how compelling their rappers can illustrate flipping packs and living lavishly. Hearing a rapper beside Conway The Machine or Benny The Butcher over beats from the distinguished and frequent Griselda collaborators Conductor Williams and Camoflauge Monk was certainly a treat. From the exquisite clarinet sample on “The Stellar Ray Theory,” to the soulful “Kriminel,” there's something for every hip-hop fan on this record.

Throughout the record, Mach allows the listener glimpses into his native Haitian culture, particularly with an enthralling interlude appearing in the second half of the record titled “Kreyol (Skit).” The album is a layer peeled away from one of hip-hop’s most reclusive acts, unveiling an emcee with deep cultural roots and influence. Mach gets fairly personal on Pray For Haiti, speaking on his own struggles in life on tracks like “Kriminel.” Usually unapologetically braggadocious, Mach reveals a thoughtful rapper with many of the same issues as the listener. While he isn’t the most talented vocalist, Mach uses singing on Pray For Haiti, as a vehicle for the pain he feels, harmonizing in creole throughout the album transmitting feelings of longing and anguish.

Mach isn’t the only artist who impresses on this album. Westside Gunn appears as a featured artist on three occasions, as well as providing his legendary ad-libs for unmitigated effect. He brings a needed diversity to the record, trading bars with Mach. Pray For Haiti also recruits singer Melaine Charles to assist Mach with his own weakness and add melodies on “Au Revoir.” Perhaps my only gripe with the project comes with the absence of other Griselda members Benny and Conway. Seeing Mach, Gunn, Benny and Conway on one track together would’ve been something special.

Pray For Haiti is easily one of the best offerings in hip-hop this year. It’s Mach’s most outstanding project to date that flexes his range of artistry, while also displaying what he does best.

Favorite tracks:

Blockchain

Makrel Jaxon

The 26th Letter

Rating: 8.5

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