Whilst the initial surprise felt on the original ‘Saturation’ may have subsided, the erratic excitement and experimentation on that album has been executed more confidently on each subsequent chapter. The LA group are everything progressive rap music should be; forward thinking, energetic and perhaps most importantly, exciting.

Saturation III is the shortest, hookiest, and best, though, for no better reason than they are cooking by now, pithily commenting on police brutality, drug addiction, and receiving head.

What unites them through the funk of “Zipper”, the smooth, slightly cheesy pop of “Hottie” and the sudden bursts of metallic dissonance on “Sister/Nation” is a sense of hiphop starting over, moving beyond iconography and iconoclasm into a world where they have absolute freedom to make shit up as they go along. [Feb 2018, p.46]

The work and musical experiments Brockhampton has proven to be a successful one. Tradition means nothing to a project like Saturation III, as constant themes of vulnerability poverty, violence, sexuality gives listeners nothing but honest perspectives.

The disc exudes confidence on every front, though the group’s ambitions seem scaled up to world domination.

This is Brockhampton at their funkiest and most playful, but it’s also Brockhampton at their finest.

Like its predecessors, the album is hit or miss, but the batting average remains uncommonly high for a project like this.

On Saturation III, the collective’s objective begins to come into focus. They still paint in broad strokes and their songs sometimes still lack continuity, but they’re truly moving as a unit now, and the star power is all but obvious.

While they may be overzealous and inconsistent and pandering, there’s a certain gratitude reserved for the fact that these people, these dynamics, this electricity, all ended up in the same place at the same time: a trashed and cluttered share-house in California.

Saturation III is for the fans: their most abstract, their most experimental, and by far their weirdest.