Brockhampton's Albums & Mixtapes: Ranked

Brockhampton has undoubtedly solidified itself as the defining boy band of the Gen-Z generation. First meeting on a Kanye West fan forum, Brockhampton (named after the street Kevin Abstract grew up on) has one of the most tight-knit and impactful discographies to date. After releasing The Family and TM at the end of 2022, it seems that the band's illustrious run has finally ended. Today, we rank Brockhampton's nine studio albums from worst to best.

Unfortunately, Brockhampton ended with a whimper rather than a bang. When you consider how out of touch numerous members of the group had been since the beginning of the COVID-19 pandemic, it didn't come as a surprise when fans were treated with the jaded, incomplete project that is TM. Rather than a cohesive experience, TM reads as a colorless collection of tracks that never made previous projects. That said, TM still features a collection of dark and gritty tracks that make it worth a listen. "MAN ON THE MOON" draws the listener in with twinkling synths featuring soothing vocals from Joba and Ryan Beatty. "FMG" toys with distorted synths and a grumbling 808 amidst menacing verses from Kevin Abstract and Dom McLennon. However, these highlights are an exception rather than a constant. Ultimately, TM comes from a group of artists who created the project out of obligation rather than creative freedom.

Technically, this is Brockhampton's first and only mixtape, ALL-AMERICAN TRASH. It set the groundwork for the Saturation trilogy that arrived a year later. The group came together at a run-down house in San Marcos, Texas, without pinpointing what they would create. Sharing rooms and spending their days creating music, it's understandable that this project would come from a group of kids who haven't yet developed creative chemistry.

ALL-AMERICAN TRASH tackled lo-fi, melodic soundscapes that walked a tightrope between hip-hop and soul. As a result, members such as Joba and Bearface have more pronounced appearances on the project. This included an impressive look on the blissful "HOME." It's hard to miss the Outkast influences on "MICHIGAN," blending pitched-down synths with slapshot hi-hats. While there are a few worthy moments from the mixtape, there are far too many slow burners from a group trying too hard to fit into a creative mold.

The Family was released as a creative counterpart along TM at the end of 2022. While it was released under the name of Brockhampton, it's essentially a Kevin Abstract album. The Family sees Abstract read from his journal, chronicling the events that led to the demise of hip-hop's most beloved boyband. He's brutally honest, stating, "I decided not to show up or show support 'cause I was tryna go solo before we went on tour" on the groovy "All That."

There's a bitter aftertaste to The Family. The gorgeous soul samples scream for a chorus from Matt Champion or an exhilarating verse from Merlyn. Abstract doesn't have to say anything; the absence of the rest of the group (except for Bearface) says enough about where the group is. However, the sendoff is still lyrically touching. From the heart-wrenching outro track "Brockhampton" to the sun-seeking "Good Time," The Family is an admirable effort from Abstract.

Brockhampton took a left turn after the smash success of the Saturation trilogy. After an exhausting world tour, the group took some time off before creating their most experimental project. Iridescence is a distorted collection of mosh-pit bangers created by a group that just wanted to get back to having fun making music. While it's nowhere near their best work, the experimental vocal pitching and wild song structures become easier to enjoy with each listen.

However, Brockhampton bites off more than they can chew on much of their fifth record. The balance they achieved on Saturation III is out of whack, as its experimentation often seems directionless. Of course, this reality is understandable, considering the recent departure of frontman Ameer Vann. That said, there are occasional moments when the chaos finds its way through the clutter. "TONYA" is one of Brockhampton's best songs, as the piano chord-ridden intro gradually morphs into a momentous banger. "J'OUVERT" and "NEW ORLEANS" expresses the group's inner rage at the world around them.

Brockhampton's sudden progression from ALL-AMERICAN TRASH to Saturation left hip-hop fans dumbfounded. Leaping from lo-fi melodies to unapologetic bangers, the collective unequivocally found their sound on their first installment of the Saturation trilogy. After the group moved from San Marcos, Texas, to Los Angeles, they immediately worked on their debut album. As Bearface put it, "Music was being made all of the time. You could wake up at 6:00 a.m., and somebody would be making something." The group's endless labor would send waves across the US music scene.

From the braggadocios "GOLD" to the shimmering melodies on "SWIM," there's an overarching message of self-confidence. The production chops of the project are the stand-out element, as the lyricism is far more naive and cringeworthy than in their later works. However, Saturation stands out as Brockhampton's most essential record, catapulting them from suburban streets to the limelight of Hollywood.

Their fifth studio album, Ginger, was nowhere near the group's initial plan for the record. Back in June 2019, Abstract told GQ, "We want to make a summer album." Ten seconds into "No Halo," this notion was promptly thrown out the window. Brockhampton struggles to navigate the world around them on Ginger, further expanding on the experimental sampling on Iridescence. In many ways, the record feels like a fully realized version of what Iridescence was meant to be.

Some of Brockhampton's best tracks to date are on Ginger.'Joba screams out on "Dearly Departed" while Dom delivers his most heartfelt verse on the backend. "Boy Bye" is one of those tracks that will drive aspiring producers crazy; the plucky lead melodies and eclectic sampling make it a much-needed banger on a somber project. Ginger is top-heavy and occasionally meandering. However, undoubtedly, it's another solid addition to their discography.

Released only two months after the first Saturation installment, Saturation II saw Brockhampton fully capitalize on its notoriety. Swiping away the notion that great music takes a long time to perfect, the project saw Brockhampton brush up on many subtle flaws in the first installment. The lyrics aren't falsely self-indulgent, and the production feels far more poignant than ever. With the group in a creative flow, diving right back into Saturation II rather than sitting on Saturation proved wise.

Once again, Brockhampton is finding subtle ways to blend the worlds of Outkast and Frank Ocean. "Jesus" and "Summer" are gorgeous, while "Gummy" and "Tokyo" ditch the pretty boy act for wonky bangers. The chemistry had taken a notable leap, as members more frequently traded mid-verses bars. While Brockhampton's discography never shied away from attacking dark subject matter, Saturation II remains their most gleeful project.

The sixth project from Brockhampton, Roadrunner: New Light, New Machine was their most introspective record. Much of the narrative struggle is centered around Joba, who's processing the tormented aftermath of his father's suicide. "Does mental illness run in the family? Did you even care about me?" Joba asks these damning questions amid beats more subtle than what appeared on any of the Saturation projects. Roadrunner opts to package its messaging with quality rather than quality, coming in at 13 tracks.

Roadrunner is genre-bending and unpredictable from start to finish. "I'll Take You On" brings in Charlie Wilson for background vocals on the lovesick and triumphant cut. "Buzzcut" sees Merlyn take the forefront, with Danny Brown delivering a feature. In fact, Roadrunner is the first project that sees Brockhampton incorporate features, a welcomed change to the scenery of their sound. Bouncing from soulful pop ballads to trap bangers, Roadrunner compacts everything great about Brockhampton.

Saturation III feels like a grandiose culmination, the creative prime of a group already at the top of the mountain. While previous projects often lacked a certain element, whether surface-level songwriting or wallpaper production styles, the final installment of the Saturation trilogy finally saw Brockhampton bring it all together. Excluding the brief interludes, the record only features 12 tracks, which aids in the cohesive nature of the record. Brockhampton's pen game is at its peak on Saturation III. Ameer, Dom, and Merlyn have improved on all fronts. This is especially notable on bangers such as "Boogie" and "Bleach."

In many ways, "TEAM" feels like the perfect send-off, as it symbolically blends the two contrasting sides of Brockhampton. Bearface is once again the outro star, as his harrowing vocals are layered with a screeching electric guitar. In summary, every member is given room to shine.