Earl Sweatshirt

(Copyright © 2012 Piero Scaruffi | Terms of use )
Earl (2010), 5/10
Doris (2013), 6.5/10
I Don't Like Shit, I Don't Go Outside (2015), 7/10
Some Rap Songs (2018), 6.5/10
Sick (2022), 6/10

(Clicka qua per la versione Italiana)

Earl Sweatshirt (Thebe Kgositsile), a member of Los Angeles' Odd Future collective alongside Frank Ocean and Tyler The Creator, debuted with Earl (2010), recorded when he was barely 16, produced by Tyler The Creator and drenched in lewd and goth. After a brief exile in Samoa, Doris (2013) better demonstrated his originality and skills as a rapper. A number of influential producers showed up to provide the underpinning for his acrobatic linguistic games: Frank Ocean (Sunday), Tyler the Creator (Whoa), Neptunes (Burgundy), Alchemist (Uncle Al), RZA (Molasses), and BadBadNotGood (Hoarse). This time he mostly steered away from the gothic burlesque of his first mixtape, although the best song, the Christian Rich-produced Centurion (with a sample from Can's Soup), is the closest to that mood. But at the other end there is a simple introverted confession such as Chum. Alas, the tracks that feature his Odd Future pals (Vince Staples, Domo Genesis, Mac Miller) are the weakest and could have been omitted.

The 30-minute I Don't Like Shit, I Don't Go Outside (Tan Cressida, 2015) was much more cohesive and essential, graduating him to become one of the most powerful emo-rappers of his generation, despite the minimal beats and lo-fi production. The tracks compose an unbroken introverted and sorrowful stream of consciousness, a slow descent into a personal hell, that crowned Earl as the philosopher of Odd Future where Tyler the Creator was the clown. Instrumental diversions are surgical strikes on the soul: the county-fair organ of Huey, the distorted psychedelic guitar and metallic percussion of Mantra, the limping industrial beat and fractured backup rap Off Top, the somber piano vignette Intermission. The void of Grief emanates a gloomy sense of terminal alienation, while the anemic beat and piano figure of DNA emanates a sense of slow decay. There's a peak of noir atmosphere when a sinister swamp beat meets a castrated carillon in Faucet. Even more impressive is the ten-minute single Solace (2015), a psychoanalytical cinematic free-style montage of words and sounds.

Some Rap Songs (2018), consisting of 15 microscopic tracks, was musically more ambitious with virtuoso performances over glitchy beats and warped instrumentals, notably Nowhere2go (produced by Darryl Johnson and Ade Hakim), and Azucar (the sound of a disintegrating mind). The music and the rapper sculpt the emotional wastelands of Shattered Dreams and The Bends. Ontheway sounds like the hip-hop version of a psychedelic blues. By comparison, the slightly more lively The Mint is beach reggae. All in all the rapper and producer has invented a style that reflects the turmoil and disorientation of a devastated psyche. The music becomes so personal that the agonizing Peanut deconstructs the trumpet sounds of his uncle Hugh Masekela and Playing Possum mixes the voices of his parents over music that sounds like radio static.

The seven-song EP Feet of Clay (2019) contains the one-minute abstraction Mtomb, produced by The Alchemist, and 4N, a collaboration with Mach-Hommy.

The 24-minute album Sick (2022) contains five songs that last less than two minutes, and some of the songs (Fire in the Hole, Tabula Rasa with Armand Hammer) are is little more than elegant casual conversation. Mildly aggressive beats surface in 2010 and especially in the eccentric trap banger Titanic. The otherworldly production of Vision (with a verse by Walter "ZelooperZ" Williams) stands out.

(Copyright © 2012 Piero Scaruffi | Terms of use )
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