¡MAYDAY! – “Minute to Midnight” review

This is the 8th full-length album from Miami-based trio ¡MAYDAY!. Formed in 2003 by keyboardist/guitarist Plex Luthor & emcee Bernz, the duo released their self-titled debut in the fall of ‘06 before adding 4 more members into the fold: emcee/producer Wrekonize, bassist Gianni Ca$h, percussionist NonMS & drummer L.T. Hopkins in 2009. Together, they would begin to rock the underground off 2 EPs & their sophomore album Stuck on an Island. This would catch the attention of Kansas City veteran Tech N9ne, who signed the group to his independent powerhouse Strange Music in 2011. They would go on to cement themselves as a flagship act on the label’s roster off critically acclaimed projects like Take Me to Your Leader, Thrift Store Halos, Believers & Future Vintage. However since 2016, ¡MAYDAY! has been a 3-piece consisting of Wrek, Bernz & NonMS. Their first album as a trio Search Party was a decent sequel to Stuck on an Island & the heavily reggae-influenced South of 5th was slightly better, but it’s been a little over 2 years after the release of their previous EP The Thinnest Line II, the 3 are getting back together for Minute to Midnight.

After the “In Due Time” intro, the title track that truly kicks the album off talks their patience being tested as well as divine new moralities over some wavy synth-lines & live drumming from ¡MAYDAY! themselves whereas the next song “Make Noise” talks about how “them boys won’t let you live in peace” over a Carribean-flavored trap beat from 7. The track “See You Smile” motivates the listener to stay strong in the midst of the ongoing COVID-19 pandemic over some bass & acoustic guitars while the song “Hard to Leave” details relationship issues over a moody beat from Bernz with co-production from The Pushers.

The track “Words Get in the Way” picks up where the previous cut left off as Bernz & Wrekonize talk to their partners about trying to change over an instrumental kin to a 70’s blaxploitation film while the song “Golden Hour” talks about meeting their lovers in “that place where the night moves slow” over a funky beat. The track “Lost Cause” talks about the reason why women do them wrong over a cavernous trap instrumental & then UBI provides the album’s only guest verse on the song “All In” as he & ¡MAYDAY! talk about being fully committed over a cloudy beat from NonMS.

The track “Let You Tell It” talks about letting their loved ones speak their minds over a reggae-tinged instrumental while the song “Flatline” is a rap rock anthem about chasing death. The track “1 Eye Open” is a piano-boom bap ballad calling out the fact that everyone says they’re woke nowadays & then the song “Flowers” expresses their hope of being appreciated while they’re still here over an instrumental with some heavy jazz undertones.

The track “Empty” is a stripped-back, catchy look into depression while the song “Can’t Do That Anymore” talks about wandering down a windy road over a disco-flavored beat. The track “Get There” talks about how they’re not sure where they’re going over a pillowy instrumental while the closer “Foul Out” goes back & forth dismissing all the bullshit being said about them over some punk-like guitar riffs & drums. But then there’s the bonus cut “Hit’s Different”, where Bernz & Wrekonize talk about trying to break out of a cycle over a plaintive instrumental from Wyshmaster.

Even though their last couple projects have been just ok to me, I was very excited for this given how much I enjoyed Wrekonize & Bernz’ latest solo albums Pressure Point & Sorry for the Mess. At the end of the day, this is the best ¡MAYDAY! album I’ve heard since Future Vintage. The songwriting is some of their most captivating ever & the way the trio fuses together all the sounds they’ve ever dabbled with into 1 continues to show how unique they are.

Score: 4.5/5

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