The self-titled debut album from Errol Eats Everything captivates with an introspective hip-hop mastery, balancing infectious immediacy and affecting explorations of self, culture, race, class, and the experiences that mold our personal journeys. “This album is my world,” the artist explains. “Every track is a piece of my perspective, my humor, my experiences. Some songs will challenge you, some will move you, and still others will just make you wanna vibe out.” The result is enthralling, impressing in its atmospheric, catchy beats alongside meaningful calls-to-action — often urging to learn from history, embrace unity, and always respect the power in oneself. Errol Eats Everything’s gripping wordplay combines with Furious Evans’ standout production for one of the year’s best hip-hop albums thus far.
A stylish proclamation of independence opens the album in “The Inauguration.” “I’ll never sell my soul,” a hypnotic vocal refrain lets out, melding with gentle rhythmic pulses and amiable acoustics. The atmospheric stage-setter traverses seamlessly into the ensuing “Kingdom,” where a sample of John Henrik Clarke and his powerful “look in the mirror!” urgings pair with clanking percussive meditations and jumpy guitars. Errol Eats Everything’s precise vocal delivery follows, calling to embrace history and use that knowledge to better oneself. “Do a little bit of research on Columbus, a little research on the Congo,” he lets out, emphasizing on how “you used to call me slave,” with emphasis on past tense — powerfully conveying progress through personal freedom. The opening one-two punch invigorates in its celebrations of perseverance and reclamation of one’s free self/ethos.
Themes of resilience continue artfully on “NRG.” The “I ain’t going out like a sucker, no way,” hook repeats initially, moving into twinkling keys and hazy guitar strums as Errol Eats Everything’s vocals enter. “I set my eyes on my children, and I tell them I love them,” he sings, emphasizing an urge to “be a good husband,” and evolve beyond one’s personal issues. The accounts of becoming an ideal man, partner, and husband prove stirring within the intoxicating beat. The album’s title track ensues, touting a sort of ’70s nostalgia in the wordless vocal balminess and woodwind flourishes; accounts of seduction, and confronting harsh truths, infuse compellingly within — themes also explored tactfully on the consuming “Fly Girl.”
Another standout, “Ballad of the Brutes” (feat. Cla’ence Jo) encourages to “know yourself,” within catching bass/guitar interplay. An old-school hip-hop flair permeates throughout — “know yourself, know your worth…” — as the meditative beat takes hold. Also enveloping, “Automatic Traumatic” re-uses the opening track’s initial sample, though this time venturing into a bluesy, murky intrigue. The “no justice, no peace,” vocal reveal pushes into commentaries on social unrest and harsh realities. “Racist police, set us off like an atom bomb,” Errol Eats Everything lets out as moody brass grips strongly. Errol Eats Everything is a fantastic hip-hop debut from this talented artist, succeeding in both melodic productions and moving thematic urgings.
