Album Review: Remembrance by Suicideyear

There’s something about Suicideyear that’s wonderfully hard to pin down. Sure, if you’re sick of this “sadboy” shit by now, you could try to write his beats off as yet another byproduct of the typically dull intersection of trap and witch house, but in doing so, you’d be ignoring the worthwhile and idiosyncratic young talent that is James Prudhomme. After all, his CV includes everything from Yung Lean and Rome Fortune productions to Dem Franchize Boyz edits to a split single with Kaytranada on Bromance.

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Trap isn't a style known for subtlety, so James Prudhomme's debut album as Suicideyear, the elegant and expansive Remembrance, comes as a genuine surprise. A collection of hybrid electronic soundscapes that uses trap fundamentals to complicate, rather than define, its sound, Remembrance adds Prudhomme to the growing roster of interesting artists on Daniel Lopatin's Software label. Stylistically, it's a lateral pass from the transplanted genre exercises of label-mates like Slava and Thug Entrancer, anchoring its billowing soundscapes with the same heavy beats Prudhomme explored on his Japan mixtape from last year.

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The music released on Daniel Lopatin’s Software label is Internet native. The context for this music is the digital space—that’s where the inspiration comes from, where the audience is, and how the music finds people. That’s true for a whole lot of music these days, of course, but from the name on down Software makes it explicit. Remembrance is the first proper release by Suicideyear, the project of young Baton Rouge-based producer James Prudhomme, but he’s been around online for a couple of years, putting out mixtapes, remixes, and original productions for rappers.

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