Riding along the outer limits of rap, “SCARING THE H***” is a maximalist maelstrom of hip-hop experimentation engineered by a boundary-pushing duo who have carved their own respective lanes in the music world.  

Bursting at the seams, “SCARING THE H***” is a joint album by rappers Barrington DeVaughn Hendricks and Daniel Dewan Sewell, better known as JPEGMAFIA and Danny Brown.

 Both rappers gained traction in the music world in the early 2010s. Before becoming JPEGMAFIA, Hendricks’ stage name was Devon Hendryx, and under that moniker, he released the mixtapes “The Ghost Pop Tape” in 2013 and “Communist Slow Jams” in 2015. Both introduced him as a bold and politically fueled lyricist with an experimental production style. 

His 2016 debut studio album “Black Ben Carson” solidified his voice and style.

After gaining a following for releasing several mixtapes, Sewell released his 2010 debut studio album “The Hybrid,” which introduced listeners to his life and upbringing in Detroit, Michigan. His 2012 sophomore album “XXX” received critical praise, further cements his place on the music map.

When “SCARING THE H***” was announced, I was excited for the collaboration because both Hendricks and Sewell are standout talents in the hip-hop world who work against the grain, and by doing so, they have gained dedicated followings. 

Despite the album being a collaboration, “SCARING THE H***” takes listeners on a ride through the Peggy-verse, with each song marked by Hendricks’ distinct producer touch. 

Across the 14-track album, Hendricks incorporates samples from early 2000s R&B and hip-hop songs, beat changes and an electronic influence. Overall, it holds a microscope to detail, packing an array of sounds into one song. 

Often, one song sounds as if it’s a combination of two or more, which can be said about the album’s dynamic opener and lead single, “Lean Beef Patty.” 

Starting with a jittery and warped interpolation of “I Need A Girl (Pt. 2)” by rapper Sean Diddy Combs, Hendricks raps over the sample, which builds into booming bass kicks and writhing synths. After a beat-focused bridge, Sewell is saved for the song’s finale.

“Lean Beef Patty” was first played on Sewell’s podcast, “The Danny Brown Show.” I was amazed at the many diverse sounds the duo were able to pack into a song not even two minutes long.

Hendricks and Sewell stretch their legs on track two, “Steppa Pig,” which is over three minutes long. The song still maintains an intricate sense of production but feels less dense than “Lean Beef Patty.” Hendricks does a great job of controlling the energy with high and low moments. 

Grinding bass and twinkling synths gives the listener a headrush during Sewell’s opener, but during Hendricks’ verse, the energy calms down, only to amp back up before coming back down toward the end of the song. 

The title track, “SCARING THE H***,” is the track that is least like the others, with a more industrial approach. The song begins with clapping to hold the beat and is then joined by a clarinet. By the one minute mark, both of these disjointed yet strangely harmonic elements are pulled together by a grinding beat. 

I also enjoy the sentiment of the song because it shows Hendricks and Sewell know their audience. The pair knows this is an ambitious project that may not reach or be favored by mainstream rap listeners.

“Garbage Pale Kids” starts with a sample that transports the listener to an arcade game. Sewell spits venom in the opening, rapping, “N***** don’t rap no more, they just sell clothes.” 

The tinkering game sample is overtaken by a shredding guitar, which works like a bridge to Hendricks’ verse.

“Burfict!” features a brass ensemble, which adds a sense of grandeur and regality to the song. Hendricks’ and Sewell’s lyrics really shine through here. The song is heavy, but gives the listener a moment to breathe in between denser and more volatile tracks. 

I like seeing them take a moment to venture beyond electronic themes. 

“Shut Yo B**** A** Up / Muddy Waters” is a standout track with multiple vocal interpolations in the instrumental. Sewell takes on the “Shut Yo B**** A** Up” half of the song, and Hendricks finishes the song with “Muddy Waters.” 

Sewell’s half of the song sounds as if it’s about to croak, but Hendricks breathes life back into it in a way that made me do a double take. The main thread between the halves is the vocal interpolation.

The transition feels like day and night, with Hendricks’ half having an undeniable dark electronic jive to it.

“Kingdom Hearts Key” feels like music that could be from a Tekken game especially with the “KO” sample. The song has the album’s only feature, 18-year-old American rapper redveil who closes out the song. 

Being younger and newer to the game, I was worried whether redveil could hold up to Hendricks and Sewell, but his verse is solid and fits the energy of the song.

“God Loves You” proved it’s possible to rap over a gospel choir with a surging beat. The highlight of this song is Sewell’s delivery of lines using Biblical references while describing salacious and sexual encounters.

This wouldn’t be a Hendricks project if he didn’t poke fun at a mainstream rapper. That’s where “Jack Harlow Combo Meal” comes in: Backed by a piano and a streaming beat, Hendricks’ verse shines. 

During a slow moment of the song, Hendricks raps, “You get used to these crackers accusin’ you / When you Black, it’s a regular thing.” Hendricks has always had the talent of being able to insert social commentary in casual ways because at this point, racism is casual seeing as that it’s an everyday occurrence and ingrained in American life and culture.

Overall, “SCARING THE H***” is the essence of what a collaborative album should be. It oozes with Sewell’s and Hendricks’ personalities and is like nothing else in the pair’s discography. 

I don’t understand how the duo could pluck these samples and think to themselves, “This will make for a solid track,” but I love it. On most of the tracks, there are voices in the background instrumental, but it doesn’t clash with the duo’s vocals. 

Hendricks does an amazing production job. Some songs feel overcrowded by the instrumental, but for those denser songs, they all have shorter runtimes, so they don’t feel suffocating. 

I’m certain “SCARING THE H***” will be blaring through my earbuds and car speakers for months to come. For this collaborative experience, “SCARING THE H***” deserves a nine out of 10.

On his Twitter, Hendricks said the album was volume one, and I hope he means it because I would love to see more of the duo making hits together.

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