motel void

Welcome Home is the debut album by ThisIsJaySol, released at the end of August. It’s a rap record that playfully brushes up against indie influences and occasionally drifts into pop – and as a debut, it’s a strong and confident one.

The album opens with Palmer Pawn to E4, a track that, thanks in part to its vocal sample, immediately sets a summery, warm, sun-soaked mood. At times the instrumental passage feels a little subdued, leaving you wishing it pushed forward more boldly – but JaySol’s flow is magnetic, and overall it’s a captivating introduction.

The following track, Real Question, shifts the atmosphere toward the nightlife. I spent about half a year in the U.S., and this record instantly transports me to different places – while the first track conjures sunny Los Angeles streets, this one pulls me into the city’s nighttime alleys. It comes as no surprise, then, that ThisIsJaySol hails from the legendary Compton. Beyond the rap, the production here really grabbed me – it faintly recalls some of my favorite Madvillainy cuts, with that same industrial-tinged mood.

Next up is Cook, an intense and urgent track where JaySol’s delivery becomes even sharper and more insistent. Personally, I would have welcomed an even rawer edge in the instrumental, but it’s still a compelling listen. The album also shines with its guest appearances: the first comes on Catch No Body, featuring Cap Angels, whose deeper, rougher voice complements JaySol perfectly.

Trouble Us follows with a burst of energy that reminds me of another favorite, Kendrick Lamar – JaySol’s smooth, polished vocal tone makes the track enjoyable. Then comes another feature, this time with Nykota, on what might be one of the most radio-friendly cuts on the album. Its modern production and more pop-oriented sound could feel like a bold detour, but I think it fits seamlessly into the project. That same pop-leaning, Frank Ocean–like vibe runs through the title track Welcome Home – a late-night ballad that makes me picture strolling under LA palm trees. The album’s second half generally feels calmer and more accessible, something confirmed by Blue Chanel, where Velka’s vocal contribution really shines. There’s also the jazzy Tofu and Kimchi – a playful track with a quirky title and lighter mood that reminded me of another favorite of mine, Chicago rapper Serengeti, who also moves along the borders of indie music.

The closing stretch circles back to the darker tones of the opening. No Gutta, produced by Scufficer, leans heavily into rap again and carries a refreshing, almost revitalizing energy. Finally, Checkered Floors brings the atmosphere full circle, echoing the mood of the opening track. It ties the album together beautifully, leaving you with a hopeful, uplifting aftertaste.

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