ACCELERATOR by greek | Album Review

the sophomore from the mysterious artist

LISTEN: APPLE MUSIC | SPOTIFY

In my review of greek’s debut, EXTC, I harped on having a social presence in a world where it is so easy to overlook talented acts. As such, with only a cryptic email warning and a couple of posts on social media, the release of his sophomore album flew by my airspace but only briefly. Regardless, ACCELERATOR builds upon the near-reclusive artist’s lore in a self-produced project, with an intensive focus on a neo-soul approach.

I’ve listened to this album so much recently that it’s hard to find new words that I haven’t said over and over to myself for the past couple weeks. greek has this incredible ability to piece together some of the most addicting strings of melodies and stylistic production choices of any indie artist that I’ve ever heard. A recurring comparison to his main influence, Daniel Caesar, is intertwined within the breath and soul of this album.

From the philosophical pondering of “HUMAN NATURE,” plucking at the same strings Caesar’s, CASE STUDY 01 did, the selection melds into the following, “RIPCORD,” which combines eclectic samplings of Mike James Kirkland’s, “There’s Nothing I Can Do About It,” with thrumming synths that ultimately serve as a segue for one of my favorite songs on the album. greek captures the essence of music so effortlessly.

“DANCE” is dumb, blind fun. Ecstacy seems to ooze and drip from the bass line of this track, which houses, easily, the best chorus as it clings onto the house-powered production as if his life depends on it. This selection reminds me of a Timbaland-backed Justin Timberlake. And while the choreography isn’t entirely up to par (as seen in the video below), all of the other components of an incredible, almost annoyingly, catchy song are there. There is little substance in the songwriting prowess here, it is both juxtaposed with how sonically enriching it is, and by the depth of the following track.

The lead single, “THERE FOR YOU,” contradicts the uppity mode of the former track with the somber pining and elite songwriting, the opening verse a matter of fact expedition of growth and almost an inherent greediness to this love interest. The raspy belts of the chorus is well-supported in that higher register and the emotionally devastating delivery of the last line of the chorus that evolves over the course of the song.

It don't rain too much in California
So if I bite the hand that feeds me, I won't get enough of shade
I just hope it's not too busy for ya, for ya (Hm-mm)
If I told you I'm conflicted (Hm-mm)
Could this bloom a little faster if it's storming on you?
And if I tell you, you're going, you're going
I don't care if you don't like rain (Oh-oh-oh) — THERE FOR YOU, Verse 1

Surprisingly, greek’s production is reminiscent of Tyler, The Creator, both housing an ear and knack for well-layered, complex, and intricate productions. The artist in a short tweet mentioned his admiration of the Odd Future headman — it wouldn’t be too much of a stretch to see the two collaborating in the future. What’s even more impressive is that the artist is largely self-taught producer so having the instinct to combine all the elements needed to so closely emulate his influences while also remaining a singular force is impressive.

The latter half of the 10-track album is not as strong as its front half, but the moments are certainly there. Bits and pieces of “SOMEDAY,” sound like they were transported straight from IGOR, and it helps that the breadth-forward belts that are so prevalent in this song are upper-echelon. This helps offset the relatively lackluster chorus here as the bridges, which house the most interesting harmonizations, prevent this from being a too underwhelming of a song.

One of my favorite parts of the entire album is the meandering of “RIVER.” The proverbial river is divine, leading both the listener and the artist in a direction, absent of their volition. But the impact of the first verse and its lostlessness is immediately presented with its counterargument in the second verse: “You'd spit in the face of God / Isn't that how kids really should be?” It’s difficult to describe the emotion that is put into these two lines, but to be able deliver these lines so beautifully makes this one of the best tracks on the album.

However meandering the river is, the following track is even more so. It doesn’t lead anywhere in particular, to forgettable effect and it doesn’t pick up until the very last few seconds of the project. Reminding us of the godlessness in the vitriol that is a particularly devout and patriotic country, “PURE AMERICANA,” and redirecting it towards this sort of non-perfect form of love that is on display throughout ACCELERATOR is delectable. The lyrics, “I know you’re God-fearin’, but there’s no God here,” hang heavily onto the silence that encapsulates the entire experience.

As hard as it is to describe how great this album is, it’s so easy to listen to. ACCELERATOR will easily land in my top five albums of 2024 and I can’t wait to see it get the widespread recognition it deserves.

Favorite Tracks: THERE FOR YOU, DANCE, RIVER
Rating: 8.7/10