https://itunes.apple.com/us/album/i-dont-like-s**t-i-dont-go/id974796109

Fuck hype. Just drop the album.

http://theearlyregistration.com/2015/03/16/03168/

I trust this kids judgement.

Any youngin' that understands the greatness of DOOM, understands hip hop, in general.

So yeah....album should be good.

This joint is far from mind blowing, but it's also far from wack, so i'm more than optimistic.

Eh. Doom-ish beats do not make a Doom record.

These lyrics are ultra sensitive Drake like raps, which
isn't bad, but it lacks the depth and irony of someone
that Earl worships, like Doom




----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

.

Once dropped, will cop.

I like this kid.

I'm definitely looking forward to the album.

Hopefully this is on a similar level of quality.

.

Nice look for Wiki

really speaking to my lifestyle.



http://freshselects.com
Coultrain - Side Effex Of Make-Believe http://bit.ly/FSX-004
Low Leaf - AKASHAALAY http://bit.ly/_FSX-003
Mndsgn - Breatharian http://bit.ly/FSX001_

Tight Songs radio show: http://mixcloud.com/freshselects

mine too, kinda

And that isn't a good thing

----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

were typed while inside, fam. Do you get a popcorn discount to do this much projecting?

>were typed while inside, fam. Do you get a popcorn discount
>to do this much projecting?

Nah, but I do give out hugs to those who need them

Inbox your coordinates, I can find a safe corner near
you, gotta shake the paparazzi first

But I do give hugs, cuz O_E is against internet sadness

----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Luckily for you, I don't think you need to be in the union to be a projectionist anymore.

Hug?

That Tone Loc rhyming dictionary really paying off for you.

Rejection hurts

Seriously, need a hug?

----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

@earlxsweat: label got me FUCKED up!!!!!!!!
https://twitter.com/earlxsweat/status/577702155295031296

@earlxsweat: I WOULD LIKE TO PERSONALLY THANK @SonyMusicGlobal 4 FUCKING UP THE ROLL OUT PROCESS OF MY SHIT. SOMEONE GOTS 2 PAY 4 THEIR MISTAKES ! #SWEAT
https://twitter.com/earlxsweat/status/577702742896091136

@earlxsweat: DON'T TRUST IT IF IT DOESN'T COME FROM THE SOURCE
https://twitter.com/earlxsweat/status/577720555421335553

tweets in regards to Kendrick's album.

i stumbled on it looking for a stream of To Pimp a Butterfly.

I didn't get it at first. Haha.

lol

So that's not encouraging

The best Rainy day rap is rap that isn't
shouting that it's made for a rainy day

Just be creative and dope, we're kinda over all these
feelings...hopefully he can be like his idol Doom and
go about expressing himself, telling us how he feels more
creatively

Doris was disappointing to me, but I liked it's topical
sensibility and range...I think he had the right idea,
but the music wasn't good enough

Let's see....I'm hopeful

Hopefully no Tyler, the Creator...he seems to have all but
shed himself of bad company musically

----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

>The best Rainy day rap is rap that isn't
>shouting that it's made for a rainy day

>>The best Rainy day rap is rap that isn't
>>shouting that it's made for a rainy day

would give him a pass.
It would be hilarious if he let his boys listen to this collection of songs on some "shyt I don't have a title for this album", and someone recommended that as a title.

Let my love slide in and never slip out

Idiots with no mental capacity for deep music discussion


Hell, they don't even know the current relevant rappers lmao

http://board.okayplayer.com/okp.php?az=show_topic&forum=5&topic_id=2854239&mesg_id=2854239&listing_type=search


tell us more about your archived posts BROOOOO

Now ask yourself as a fan of hip hop, what part did you play in all that?


"go home. Spray paint it on your house."

The Lesson is a great way to see what happens when
insecure, sensitive nerds create a digital space.

I've learned TONS from the Lesson. Very rarely do I
read anything interesting about hip-hop.

I think The Lesson's NON Hip-Hop discussions are better

Its not even close actually. When ppl think of okay player, they think the lesson. Not sports. You sad?

This place you seem to enjoy trolling, this is part of rap history. Ask Phonte. Or Ninth. Hell, ask 15.

You clearly wasn't here for the glory days though.

Sorry that you played absolutely no part in the most important and ahead of its time Internet hip hop forum.

>Its not even close actually. When ppl think of okay player,
>they think the lesson. Not sports. You sad?

This is a Roots brand, and the Roots make music. And so
the music board is going to get the most attention, always.
Also in part because the big cheese (Quest), pops up here
and interacts with folks.

That other boards, like sports, are populated by people
who skip the Lesson is a testament to how sad the Lesson is.

The Roots, a band everyone loves, have a website with message
boards, and a lot of people don't bother discussing music,
because the music board is full of wimpy, insecure nerds.

>Sorry that you played absolutely no part in the most important
>and ahead of its time Internet hip hop forum.

There's no way anyone halfway intelligent or confident even
forms this thought in their head. Good grief.

Yet for 10+ years you haven't contributed jack shit to the music forum of this site?


Lmao. The shit writes itself


It's pathetically hilarious how you always try to claim that Grantland and others read OKS btw . Trying very hard to give that forum a shred of the relevance that the lesson has.

>Yet for 10+ years you haven't contributed jack shit to the
>music forum of this site?

Oh, I have. I still come here because I love music.

And yeah--The Lesson *has* put me onto dope shit before.

But it's tough to discuss music when the Lesso is overrun
by wimpy, insecure nerds


>It's pathetically hilarious how you always try to claim that
>Grantland and others read OKS btw . Trying very hard to give
>that forum a shred of the relevance that the lesson has.

Oh, I shit on everyone.

OKS isn't *great*, but the average poster is more intelligent,
funny, well-read and secure than the average poster in The
Lesson. And that's by about 275 miles. Not even a discussion.

----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

he's an unstable loser.

dont bother.

edit, more lol @ talkin about the "glory days" of the lesson but popped up in 2008

thats all he does


and I was lurking waay before 08



you know, while you were posting and no one was giving a flying fuck about what you had to say about hip hop

some shit doesn't change I guess

/

.

Not mad tho...

I like that title a lot.

but I'm not so sure I like Earl much as a rapper anymore, at least not in a standout kind of way.


~~~~~~~~~
"This is the streets, and I am the trap." � Jay Bilas
http://www.popmatters.com/pm/archive/contributor/517
Hip Hop Handbook: http://tinyurl.com/ll4kzz

I didn't like Doris as much as critics and heads here did. There were def songs that worked, and a couple that were very good, but I feel like he's settling into a sound that limits where he can go creatively

he worships DOOM, and for as specific and niche as DOOM can be, the sounds and words DOOM creates are as big as the galaxy. Earl seems to be starring at walls smoking a blunt and being okay with that

http://www.youtube.com/watch?v=NHNp66iMMZA

More Samiyam, fam!

I like the kid....Got bars and is intelligent as shit....

Where you can stream for free if you subscribe, Or hear 1:30 snippets

but I need to see what Spotify-PS4 app is like.

Gotta give a few listens, but these beats dark and dusty as hell.

Wish he woulda had that Samiyam joint on this....

He need to just go that LA beat scene route...

He got Bars, of course...but these beats kinda "eh"

"Huey" is dope, tho....

Because what you just said could be perfectly
applied to my feelings on Doris.

It's almost like dude sabotages himself.

Like he's scared to go for broke so to
speak. Like he doesn't want to appear to
care or take it seriously. He's the smart kid
cutting class and purposely getting answers
wrong to fit in

You can make a dark/dusty album that's still
consistently dope. But you still have to try.

....I can def sense that stee from dude...

I can see glimpses of what could be and main reason I like this kid is 'cause my best friend used to be this kids teacher prior to him being shipped to Samoa lol

My dude said the kid is a good kid, but yeah....I think his content is more or less about the pressure to live up to some shit that he may or may not be equipped to realize.

He can spit and has mad potential....but potential is a word I see as a diss....means you ain't giving your all....so you are spot on in your evaluation.

So yeah....compared to Doris....this one is just a continuation...

I don't dislike this album at all....but this dude needs to fly to London, stay there for 6 months, fuck as many hoes as possible and hang out with, and soak up every nugget (pause) DOOM can give him within that 6 month period.

He is a niche artist.

Accept it and move on.

Money can still be made.

I recognize, that emo shit is cool to hormonal tweenagers and shit, and you can be emo with your shit and still keep it live.....but when your album sounds like one suicide letter after another (beatwise)...wont get many spins in itunes....and ZERO spins on the radio

*shrugs*

Hopefully dude figures it out, cause the talent is indeed there.

And dealt with his demons creatively, by making creative
music.

It wasn't this self pitying pussified bullshit


----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Still mad at Kendrick

Hug?


----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Never would have gotten that from the title, or his
past work


----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

2015 already becoming one of the better years for hip hop as of late.

..

and don't like shit...

Good grief

----------------------------



O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

~~~~~~~~~
"This is the streets, and I am the trap." � Jay Bilas
http://www.popmatters.com/pm/archive/contributor/517
Hip Hop Handbook: http://tinyurl.com/ll4kzz

Whoo!!!

We covered by the Blood which never loose it's power



http://soundcloud.com/rayandersonjr

he's spittin' though

Shit is good. Pretty much what I expected from Earl. Don't think the physical release is out until April 14th though.

>Shit is good. Pretty much what I expected from Earl. Don't
>think the physical release is out until April 14th though.

man. I had to buy the CD after hearing those two tracks.

it's an extension of Doris but he's rapping with a TOUCH more energy. It's dark, it's moody, it's claustrophobic. It's not a whip LP. It's a in-the-house, good system LP.

Glad he's in this vein.

I HATED that about Doris. I'm a fam of his lyrics, but I was also a fan of the ENERGY
he rapped with on his debut and tracks like Molliwopped and Assmilk.
I know he's a doom fan, but I don't think the deep, rumbly style serves Earl well.
I don't even mind these laid back beat with the way he's spittin here.
His rhyming makes damn near any beat work for me.

>it's an extension of Doris but he's rapping with a TOUCH more
>energy. It's dark, it's moody, it's claustrophobic. It's not a
>whip LP. It's a in-the-house, good system LP.
>
>Glad he's in this vein.


__
I don't like the beat anymore because its just a loop. ALC didn't FLIP IT ENOUGH!

Flip it enough? Flip these. Flip off. Go flip some f*cking burgers.(c)Kno

Allied State of the National Electric Beat Treaty Organization (NEBTO)

Fuck your fort!

Musically, it starts well and ends well, but it drones on like a mutha in the middle. Also, with the exception of Vince Staples, the guests all suck.

Lyrically, it's dope. Earl hasn't missed a step. But man, those beats can be so lifeless at times.

Good thing this album is barely over 30 mins. Vince Staples has been killing it. Def one of my favorites out of the young cats.

expose this dudes flow more. More about flow. The beats are really there just to keep rhythm and low key atmosphere ...

I dig how short this is. It's a downer and the beats kinda sound the same, but it's the perfect length for this type of album.

I had high hopes for this but it all sounds the same.

there's a difference between sonic cohesion and being bland/1 note

n/m

The album isn't bad....but this was all covered on Doris.

What I find weird is Earl likes so much eccentric music, but makes the most sad music. I'm not saying he should do a 180, but he could use some color.

I wish he go get beats from Teebs,Fly Lo,Sango,Ta-Ku & more from SamIam. They would prolly pull Earl out of that dark cloud a little.

We gotta remember the kid is only 20. Let's give the little nigga a chance to grow. If he pulls this same vibe next album, we can start being concerned with the direction of his music.

>We gotta remember the kid is only 20. Let's give the little
>nigga a chance to grow. If he pulls this same vibe next album,
>we can start being concerned with the direction of his music.

Q-Tip made "Bonita Applebaum" at 15. Stop that.

>>We gotta remember the kid is only 20. Let's give the little
>>nigga a chance to grow. If he pulls this same vibe next
>album,
>>we can start being concerned with the direction of his
>music.
>
>Q-Tip made "Bonita Applebaum" at 15. Stop that.

And he progressed and made better shit when he got older

>Q-Tip made "Bonita Applebaum" at 15. Stop that.

what? he was 18/19 at least. People's came out in 1990.

The lyrics aren't my thing, but I would listen to a lot of these instrumentals on their own.

Yep beats are good. Verses lacking at times.

After listening to the NPR interview, I can understand why he included guest writers this time, to, in a weird way, give "balance" to the album

>After listening to the NPR interview, I can understand why he
>included guest writers this time, to, in a weird way, give
>"balance" to the album

i fell asleep on the train listenign to this.

im 31, i have zero interest in hearing self loathing whiny teenager raps over hotel lobby music

kinda minimalistic on that marcberg reloaded tip but his raps still not my cup o tea.

is this his mic persona most of the time? ive never heard his other shit.

>kinda minimalistic on that marcberg reloaded tip but his raps
>still not my cup o tea.
>
>is this his mic persona most of the time? ive never heard his
>other shit.

Doris is an easier listen since the beats are a lot better and the subject matter isn't as depressing as the stuff on this release.

Is that a straight sample or did Gary Wilson actually contribute for that snippet at the end? If it's a sample, what's the original song?

Put J Cole or Lupe on a track wit Vince or Earl they'd get skool'd

but to each his own I guess

You might like their subject matter better but when it comes down to they'd get bodied

have a seat

https://soundcloud.com/npr-microphone-check/earl-sweatshirt-im-grown

.

Doris =
15 tracks
2 solo produced
5 co-produced tracks

I Don't Like Shit... =
10 tracks
8 solo produced
1 co-produced track

I Don't Like Shit... =
10 tracks
9 solo produced
1 by Left Brain

to this interview before doing so.

There's just too much stuff out right now to process all of it and Earl's material (just because of the nature of his style) feels the least 'time-sensitive' to need to dig into.

It all makes a lot more sense when you hear not only what he was going through,
but just hearing him talk and his demeanor, etc... the album really fits him more
than anything he's ever put out.

i already dug the LP but the interview helped me get it even more.

That's the record his mom had that he was referring to.

Album of the year so far imo...

>

hes rapping his ass off. this shit is sincere and heartfelt.....i kinda like how bare and stripped down every beat..very different.

this is get lost in ur thoughts bars.

i dig it.


*eats tofu crow*

He is in the spirit on this shit.

Shit isn't for everyone but I like this more than Doris (which I loved). The total inverse of TPAB. Great month for LA rap.

>Shit isn't for everyone but I like this more than Doris
>(which I loved). The total inverse of TPAB. Great month for
>LA rap.
>

which means on first listen it may all sound kinda the same and that it's a lot to take once you listen enough to find all the variance/nuance.

In the end, a half hour is about perfect, it just functions as a song suite that you can let ride front to back when you wanna zone for a half hour.

And while it goes by fast, you still feel like you've been thru it by the end, akin to how a Rage Against The Machine live set is only gonna be about 60 minutes but by final song you couldn't imagine it going any longer.

y'all don't understand.
2014-15 alone is poopooing on so much of the recent past.

>y'all don't understand.
>2014-15 alone is poopooing on so much of the recent past.
>

but 2015? OH boy...it started out with a BANG to say the least

that year goes like 30 deep on GREAT albums, even typically average dudes like Chip tha Ripper put out pure fire, and there were a lot of cool new voices emerging like Scotty, Stalley, Bronson, A$AP Rocky, Kendrick plus dudes coming into their peaks like KRIT, Drake, Blu, Mikey Rocks, Saigon, Danny Brown, Co$$, G-Side.

very awesome year.

2009 and 2013 also made my top 10 (I didn't do reviews/lists last year, basically dropped music for podcasts to be honest. Getting back into this spring.)


~~~~~~~~~
"This is the streets, and I am the trap." � Jay Bilas
http://www.popmatters.com/pm/archive/contributor/517
Hip Hop Handbook: http://tinyurl.com/ll4kzz

This album is pretty terrible all things considered. 30 minutes has never dragged on for so long.

Doris was so good and this is a step back. Sad. But yea, this should've dropped in January.

Since it's getting warmer out, I'll play Doris instead.

It's not exactly like Doris is exactly light in tone musically (or content-wise)

The beats are dissonant on here than Doris which can be played year round. Add to that Earl isn't as heavy on Doris as he is on here. And I though he couldn't be more dark than that album.

Also didn't realize that he had BadBadNotGood on Doris. For how insular and small the album seemed at the time, he really had a gang of good producers on there (BBNG, RZA, Neptunes, Samiyam)

randomblackdude did some dope beats on this but aside from a few tracks, they kinda collide into each other for part and not indistinguishable from each other.

Adds to how insular-sounding it is

Hopefully for the next joint he'll go find some more heat and do one or two himself and no more.

Enjoyed this much more than I expected; better than Doris IMO. His delivery seems to have improved

>His delivery seems to have improved


He seemed rusty and still finding his footing from that Samoa stint on Doris, imo.
He's spitting like that comfort and fire is back on this joint.

I have been listening to this so much. The beats work perfectly with his improved delivery and a majority of the features deliver. This is probably my favorite thing to come out of the odd future camp. Earl was smart to keep it short, it is the perfect length for this type of dark/minimal album.

Good job, Lesson.

I do not anticipate that Earl Sweatshirt will be glad to talk with me. Before the rapper gets on the phone, I hear his manager tersely emptying a room full of friends and associates, and a palpable amount of joy seems to go away with them. But when the 21-year-old rapper and producer born Thebe Neruda Kgositsile picks up the line, he is lively, engaged, interested—essentially the opposite of the persona he has developed on record thus far.

That persona—a hermit, a recluse, a guy who grits his teeth through fan photo ops—is a mournful character that both haunts and pleases him. And it is a character: The word Earl uses is “snapshot.” “You get committed with what you put in songs,” he muses. "It made me wary of who and what I include, because that's there forever. That photo doesn't change.”

Over the last few years, Earl has been reckoning with his own snapshot. He named his new album I Don’t Like Shit, I Don’t Go Outside partly as a joke. “It was so accurate that it was funny,” he says. The record both undercuts and reinforces his prevailing story: That he is a misanthrope, maybe even a sad sack, someone enduring his fame. The title and all-black cover tell one side of that story, but his lyrics and self-produced music chart a squirmier, more humane path that finds a pained soul carefully tending the one precious currency in his life: legitimacy.

“I’ve read some pretty harsh criticisms of my music, but some of them I agreed with and actually sat with me,” he admits. “Because when it’s legitimate, then I fuck with it, and I’m like that with all aspects of my life. If you didn't fuck with me before I did music and you still don't fuck with me right now, I got love for you, because that's very real.”

For now, though, Earl seems to have made peace with his allergy to bullshit. After all, tolerating nonsense isn’t just a fact of music-business life, but of life life: Scorn all bullshit, and you might never leave the house; embrace it too eagerly, and you lose your soul.

Our conversation is full of amiable bullshitting: After he makes a stray remark about the color of a track on the album, I jokingly ask him what the corresponding colors are for the other songs—and it turns out he has a very specific answer for each one. “Grown Ups”? “That’s warm, like a nice red Persian rug at your homie’s house.” “Faucet” and “Grief” are like a “dark green, bottom-of-the-ocean thing.” “Huey” is the color of Nerds candy.

Oh, and the album cover was initially supposed to be white, but “Drake fucked that up,” he laughs. “That was gonna be my exact color scheme.” He's happy with how it all turned out, though, and considers I Don’t Like Shit to be his fullest work: “It's a dissertation on me.”

Pitchfork: You've said that you had the album cover visualized before you had the songs written. What else did you know about it at first? Did you know it would be 10 tracks long?

Earl Sweatshirt: Oh yeah! First off, you don't get paid over 13 songs, so niggas that be giving y'all more than 13 songs are very generous. Chew on that for a second and then look at a Prince album, or any classic, classic albums like Black Sabbath’s Paranoid, any classic Michael Jackson album. They’re all eight, nine, maybe 10 tracks—‘cause nobody got time for that shit, my nigga!

Pitchfork: Do you think classic albums say more with less?

ES: Definitely. I'm obsessed with proverbs because, to me, flexing is being able to say the most with the least amount of words. You know your words mean a lot if you can say something that would be cliche coming out of someone else's mouth, because people know you’re saying it and you're legitimate and you've been through some shit. That's what my whole shit is. And all the old heads that I look up to are like that. André , Jay Elec—these are all niggas that have spent time doing less and less as they get older, and that's what I'm on. It's about exclusivity. You don't get too much. True mastery is being able to come with your own proverbs.

Pitchfork: It's interesting to hear you say that, because one of the themes I hear in your music is miscommunication.

ES: Miscommunication is the number one cause of all problems; communication is your bridge to other people. Without it, there's nothing. So when it's damaged, you have to solve all these problems it creates. What you hear on this record is rampant problem-solving.

There’s a lot of me figuring shit out in the moment. On “Faucet”, for example, I touch on me and my mom, post-Samoa. First there was just this initial bliss of me coming home. But after that went away, the reality that it's still real life set in. A lot of it is about finding balance with both of my parents, going from one extreme to another, holding on too tight after I was pushing them away.

I looked up one day and I had been touring and I hadn't been with my fucking family at all. On Mother's Day, my mom texted me something about, like, the 12 millionth thing that I missed at her house. I was hella sad, because me and my mom are at the point now that she's not about to call me and fucking yell at me. I convinced her that I'm grown, so she's treating me like I'm grown. If I don't show up, it's just that she's sad and hurt.

Pitchfork: The record isn't all dark, but there are some bleak moments. "Grief", for instance, is all about paranoia, regret, addiction, panic.

ES: I was fucked up when I made “Grief”. I had been prescribed to be inside because I had fucking medical exhaustion, so I was asleep for, like, three weeks and then I fucking went outside and tore my meniscus and limped around on that for two weeks. My leg atrophied. It got hella small, along with my self-esteem. I wasn't taking any pain pills or nothing, but then I took a Vicodin and went home and that song all just happened at once. There are technically better beats I was making, but the way that “Grief” felt and how everything settled really captured 100% where I was at—everything I wanted to say to the world and the niggas that was close to me and shit.

“Grief” could've been the last song on the album. What's fucked, though, is that the tracklist got fucked up. There was a song that’s so crucial for the balance of the album called “Mirror” that was supposed to come right after “Faucet”; as far as the mom dynamic thing goes, the juxtaposition of “Mirror” against “Faucet” was so crucial, but the fucking sample didn't get cleared. I’m gonna put it out, though.

Pitchfork: What is “Mirror” about and how did losing it affect your feeling of the album?

ES: It's just way more progressive and it's not produced by me. It's just one verse and a hook and I was just snapping on that shit. It's funny: When I was making the album, I was talking about making “mirror raps,” which are fly for you when you're getting ready to go to school. Raps you're trying say in the damn mirror.

Also, “Grown Ups” was gonna be a secret track. That's why I didn't want the tracklist out, ‘cause I could've been like oooh. Keeping shit a mystery is impossible, but I’ma figure it out. At this point, though, it’s about just doing the full opposite ‘cause mystery shit is lame. That's why I came out with it so plain and put myself on a fucking platter. If you got mystery, then it just leaves room for people to make shit up about you.

Pitchfork: You talk to her a lot in your music. Did you ever sit her down and play that track for her?

ES: I haven't even showed her the whole shit. When she comes over, she’s just overhearing stuff that I’m playing from my room, so she'll just catch pieces of it and be like, "Oh, this sounds good." But convincing her that I'm grown—it wasn't music that did that. It was the way I started addressing her and how I started handling my life. It sounds crazy, but you get to a point where, at least on my side of things and with the adults that are around me, there's a human moral truth that they all relate to. So when I got to the point that I was speaking with that, then the relationship with my mom was different.

Pitchfork: Why do you think this is your most complete project so far?

ES: Historically, even in my writing outside of music, I start so strong, and then I don't care. I can finish. I know how to. It's just getting the willpower to. That was always my mom’s beef with my shit. So I did way too much with this album, just in terms of conceptualizing it. I’m doomed to being obsessed with the meaning and purpose of a story; I had to read too much when I was younger. The album is very much its own thing to me.

Pitchfork: Does your last record, Doris, feel less like “you” to you?

ES: What was crazy about Doris is that I would be fully in myself when I was writing a lot of that shit, but then immediately jump out when I was done, so it was almost like me performing someone else's songs. I'll always regret how I recorded “Burgundy” ‘cause it's not how I felt. The words that were coming out of my mouth and how I mean them, it’s so much different.

Pitchfork: Who are some other rappers who inspire you right now?

ES: Bro, it took me a second, but Future is going so crazy right now. The 56 Nights shit is cool, but you can still fuck with Monster and Beast Mode because this nigga's one-liners is the craziest shit ever. He just randomly sneaks in such things that be having me stuck. This man said, “I don't know what type of love is this.” I fucking feel you, dawg! I fuck with Future because Future fucks with Future so heavy right now. He's really all the way in it.

Other than that, I listen to M.O.P. everyday.

http://pitchfork.com/features/interviews/9621-the-proverbial-wisdom-of-earl-sweatshirt/

much more cohesive than Doris

but i can't listen to this fucking shit right now. too depressing.

i mean, it's warm outside. i already got my reggae, cumbia and 70s african funk popping off.

i'll revisit next winter.

I love listening to this record folding laundry or having a late night smoke on my balcony with a buzz on before turning in.

It's actually not bad in the car either, the drums/bass both knock even though the tempos are glacial.

Could never see actively listening to it in a social setting, I think it's pretty obvious that it's not that type of record even right in the title.

But it's definitely worth a listen, I'd say clearly the single-best body of work Odd Future as an entire collective have ever mustered and could even end up in that quirky/personal-classic category for me down the road.

I listen to the whole album like it's one song suite, like Pink Floyd 'Animals'.

Give it maybe 2-3 full spins (it's only a half hour long) to sink in and if you ain't in, you ain't in.

The first time I heard it trying to skim thru nearly made me not want to listen to it ever again, particularly since it was dropping in the midst of so many other things that I was enjoyed.

Maybe would have left it on the back burner forever (as I did his last one) had I not heard the Microphone Check ep with him on it discussing it and a couple cuts with context sorta stood out enough for me to go back and actually listen to the album in full.

Few weeks later & I've probably listened to this full album more than Kendrick's.

Of course part of that is due to it being half as long and I can't objectively say it's better it's just......different.

The type of shit I'll listen to solo in some headphones while doing chores or zoning out, the level of spitting is actually ridiculous and he's gotten out of that rhyming-in-the-same-sedated/monotone-inflection shit, he's actually sliding in/out of different intricate flows here seemingly effortlessly.

It's always nice weather where I'm at so I don't have as many of those 'this is Mobb Deep weather' or 'time for Marley bootlegs' type of runs anymore.

must be nice...i think LA is probably the only place I could live in Cali

I was in SF last week and it was chilly. I'm talking Chicago in September type Autumn weather.

No thanks. I need a real summer/summerish weather.

SF being overpriced and overrated is evolving into a bar convo agenda for me.

And prior to moving here (and for the first few times I travelled up there early on) there is no way I wouldn't have said I'm more an SF type than an LA one.

But fuck that, I discovered 75 degrees and an ocean breeze everyday is actually something that I could get used to, then came to find out SF is priced worse than NYC but lacking the size/scope/diversity/etc that make New York what it is while SF is the same kind of city u could walk across in an afternoon like Boston.......while being possibly the only major city with less attractive on average than Boston that I've been.

Ive found some books in certain places on the perimeter in the Bay but LA is much more manageable for day to day life.

But I do like LA's access to, well, everything. Long Beach especially rocks for me.

>But I do like LA's access to, well, everything. Long Beach
>especially rocks for me.

but I appreciate that place, Top 5 L.A. locale for me.

This according to Doctor Bombay's audible DNA test results<<<<see what I did there

15 years or so after Lord Superb blasted that seed thru the speakers into hip-hop's collective ear then promptly disappeared.....

Along comes an eerily familiar opening salvo, a visceral feature verse that's young/hungry/high-pitched, full of immediacy while directly informed by a friend's still-fresh loss:

'ayo I wrote this on Donny roof, after his funeral, on one knee, thinkin his killer followin me'

b/w

'My bro left today, fuck......and this news right here almost made me have a heart attack/Your momma heart intact/We just spoke, I couldn't stomach that'

Dodging the dueling hellhounds on the trail via internal and external/environmental desperation, only this time via Chicago rather than Shaolin.

Let's hope that the promise & vitaly displayed here doesn't suffer from the same derailed fate as the unwittingly absentee father to its style.

And let's hope we don't have to wait another decade and a half for this seed to transform and take root.

But you know how starving art dine......some time the tape stays at the beginning cuz that's how they rewind.

Did Big Noyd not having a song anyone cared about on his own mean that he didn't murk his turn on Give Up The Goods?

The answer is prolly no to both but they had introductory verses that made a permanent mark like a tattoo while stealing the show on songs off albums made by an actual great rapper(s) while in their prime.

Dude was a TECHNICALLY awful rapper but that passion, that grit, that originality...I miss that.

That Nakel kid kinda went in and the story behind the story was just as ill. It probably fucked their whole day up and they still did work.

Perb tho:

https://www.youtube.com/watch?v=infwmcBaPqE

40 seconds in...and he really bodies it to me.

OH PERB WENT IN HERE:

https://www.youtube.com/watch?v=zZwKc7Jfgas

I'm a fan of dude for the same reasons you mentioned.

I just got back from an off-the-cuff night time ride through exurbia.
I haven't done that in forever. It was something I used to do when I was younger and fuel was cheap as shit.

Threw this on for the first time.
Shit floored me. I fucks with this.

Short and sweet.

I've said it time and time again, it's been too long since so many albums I dug heavily came out so closely to one another.

Jehan was right.

04/14 Toronto, ON - The Opera House *^
04/15 Montreal, Virgin Mobile Corona Theatre *^
04/16 Boston, MA - Paradise Rock Club *^
04/18 New York, NY - Best Buy Theater *^ NEW DATE: 8/22
04/20 Philadelphia, PA - Theater of the Living Arts *^
04/22 Baltimore, MD - Rams Head Live NEW DATE: 8/25
04/23 Silver Spring, MD - Fillmore Silver Spring *^ NEW DATE: 8/23

squashed.



https://twitter.com/earlxsweat/status/588026983361159169

It started out I just wanted to listen to "Faucet" a lot, and as I've said before I'm not typically a "pick a song off the album and listen to just that" guy other than work playlists, so I just kept listening to the whole thing and the lo-fi sound of it kind of washed away and I get caught in the vibe overtime now. Perhaps it has something to getting back in the green leaf's graces after a couple weeks off as well.


~~~~~~~~~
"This is the streets, and I am the trap." � Jay Bilas
http://www.popmatters.com/pm/archive/contributor/517
Hip Hop Handbook: http://tinyurl.com/ll4kzz

https://www.youtube.com/watch?v=d3q_0UP6sck

this is a really tight concise cerebral record

i brought the whole thing back three times couple nights ago

right under TPAB and T&Y for me

great to have such three unique albums drop in the first quarter

I love "Faucet" he created something special there, also the joint with Wiki. Vince steals the show again, yet Vince has not made an album as good as any of Earl's.

I hope he gets out of this funk he's in for his own life, but this time around he channeled to make a quality rap album

I think I like this more than Doris actually. More concise and definitive.

I have played this once a day for like five straight days

>I think I like this more than Doris actually. More concise
>and definitive.
>
>I have played this once a day for like five straight days

this is exactly how I feel.

Earl just seems more alive, and aware of his surroundings. he may not be feeling "well" but the way he rhymes just seems more forceful and direct to me.

plus the production is just awesome. I even play this during the daytime.

>Earl just seems more alive, and aware of his surroundings. he
>may not be feeling "well" but the way he rhymes just seems
>more forceful and direct to me.

this

>plus the production is just awesome. I even play this during
>the daytime.

exactly. it's very throwback, but also modern and understated. it just grabs the listener if you're willing to go there with him

kept going back to that one.

.

this is a fantastic album. Definitely my favorite work by Earl thus far

I think Earl has this "album" thing down. I enjoy listening to the general format of his records

.

This is an absolute undeniable classic. I haven't like an album of any genre like I likethis one in years.

because I realized early that you kinda have to be in the mood for this kind of joint.
I'm not depressed anymore, I like alotta things, and I go outside these days (lol)...
It also doesn't rain much where I was when the album was released, so I realized, early on,
that it would be a while before I was in the appropriate mood to give this album a fair listen.
There was a slight drizzle this morning. I went for a walk with this in the headphones.

_________

With all that said, this is a nearly perfect album, imo.

This wasn't just some young kid and his friends randomly rapping over some instrumentals he made.
The way this album flows so effortlessly from song to song is definitely intentional
and that's clear from the way he ends many of these tracks with either musical variations
or complete changes of the music, as if everything is meticulously crafted to ensure
an easy and pleasurable listen. I could tell I was listening to something in which alotta
effort was carefully exerted.

From my first listen, upon the initial release, I could deduce that the lyrics were very on
point. At that point, the only song that stood alone for me was "DNA", but there is
brilliance all over this album. There isn't a song on this thing that I don't like or that
I'd skip when I listen to it... no obvious 'weak link'. I don't want to give a track by
track review, because there are really only more intense vs less intense tracks.
I'm kind of amazed at how good it is and how well it plays as a complete work.

Thumbs way up for this joint.

https://www.youtube.com/watch?v=tZ5Mu2gs-M8

I've been in the market for in the pocket type of albums. This fits that mold. Stuff like this joint, the Homeboy Sandman - All That I Hold Dear project, Von Pea and Aeon's last project all fit that mold for me. Pharaoh Height also fits that mold.

I always thought Earl could flow but I was never a fan. I think he really did his thing on this project and it made me go back and listen to Doris. He's spitting on there too.