Self-proclaimed boy band and rap collective BROCKHAMPTON exploded back onto the scene with their experimental and extremely personal album “iridescence.”

Many doubted the group’s ability to perform up to their previous standards due to the removal of originating member Ameer Vann. However, the group makes up for what it lost and ultimately satisfied audiences.

The album, like ones before it, opens with a hard-hitting and explosive track, this time titled “New Orleans,” which introduces itself with a heavy and hard beat. The track also features a chorus from group leader Kevin Abstract.

While the track may grab the attention of the listener, toward the middle of the anthem, the attention can be lost.

“New Orleans” blends into the piano-driven ballad “Thug Life,” which is much softer than it’s predecessor and much more personal.

On the next two tracks of the album, “Berlin” and “Something About Him,” a problem arises.

While the two tracks are good, they are repetitive and follow the same idea as “New Orleans” and “Thug Life” did, blending a harsh track into a ballad.

The track “Weight” is arguably the emotional core and one of the most personal tracks of the album.

The song opens with Kevin Abstract rapping about his feelings of inferiority and concern toward other members of BROCKHAMPTON and their mental health. Abstract also voices his struggles with his homosexuality in his adolescence.

The next track, “District,” falls short. Rapper Joba Boing, who delivers on multiple other tracks, seems to overdo it on this song. The beat has too many effects thrown in and sounds noisy.

The second leg of the album delivers much more than the first.

Opening with “Tape,” a decent, fast-paced track with members voicing their regrets, insecurities, and struggles, the track truly sets the tone for the rest of the album.

However, the track “J’ouvert” and the first half of “Honey” end up suffering similar issues as “District” and “New Orleans,” with the songs trying to be too hard-hitting and cacophonous.

Yet “Honey” does undergo a hypnotizing beat switch, resulting in a much slower and better-executed second half of the track.

“Vivid” is arguably the best of the hard tracks, with a menacing and darker tone.

The last three tracks on the album are all very personal and tear-jerking.

Starting with “San Marcos,” Boing delivers a very vulnerable verse, discussing his thoughts of suicide and how he is trying to better himself as an individual.

The song features an outro from the London Community Gospel Choir, singing in unison, “I want more out of life than this.”

“Tonya,” possibly the best track on the album, is driven by a piano and a profound verse from Merlyn Wood, rapping softly about his struggles with fame and his parents’ disapproval and rejection.

The album closes with “Fabric.”

Abstract opens the track with a verse confronting his issues with fame, the music industry, and being signed. He later closes the album with a sing-a-long chorus.

Senior Tyler Myers feels the album is worth listening to multiple times.

“I found the whole project very enjoyable with tons of replay value,” Myers said. “Even with the absence of Ameer they can clearly function very well.”

The album shows that the group can remain strong despite the removal of Vann, yet still has growth to show in the next two albums of this upcoming trilogy.

Overall, I feel the album earned a strong seven and a half stars out of 10. With the record’s strengths shining through, the weaknesses cannot ruin the experience.