I usually get nervous before heading to listening parties. I worry about not liking some of the tracks, and that it’ll show on my face—right there, in front of the artist, causing me to hate myself for having an opinion.
But when Mikey Fountaine (or simply Fountaine, as he’s now known) asked me to attend a listening party for his new full-length, H.F.I.L. (Hell for Infinite Losers), I was genuinely excited to hear what he’d been up to.
Over the past couple of years, it’s become clear that Fountaine is just as talented a producer as he is a lyricist—just listen to the production of neo-soul singer Blossom’s gorgeous reggae anthem “Black Magic Woman.” Even though I couldn’t quite relate to his “anime rap” on 2015’s Blak Sushi and 2016’s Wisteria, Fountaine’s cool delivery, clever wordplay, and nerdy content made me appreciate him from the get-go. His energy is infectious, he’s a remarkably good dancer, and his voice sounds like a completely different monster on each song (which is probably intentional, given how much he likes to rap about Pokémon).
On the complex soundscapes of H.F.I.L., Fountaine uses iconic samples and a variety of production styles while rapping about his experience being a Black artist and coping with issues like depression and oppression in Portland. And the city’s influence is present throughout the project, with references to Biketown’s “Nike bikes” on “Almurda” and local contributors like Mat Randol, Snugsworth, and the Last Artful, Dodgr.