Robert
Odd future, 2010, it became hip, and so did one of its younger members: Earl Sweatshirt. His first album Earl came out in the aforementioned year and struck the fans of Golf Wang with Earl's flow, deep voice and age: 15. Not long after that he got into some illegal stuff (the usual petty crimes that come into a young man's life, especially with an entourage composed of people as dodgy as Tyler himself) and he got sent to Samoa to some sort of school for troubled youth.
This brings us to Doris. The first solo single after his return from exile was Chum , a song that is basically a summary of the album's dark side, his troublesome youth, father abandoning him and Tyler becoming his "big brother". The album in itself is composed of 15 songs that divide the 44 minutes of pure adventure (as it is defined by Sweashirt himself). The kind of feelings that you would encounter at his age, they all appear and get conjured by collaborators like Frank Ocean (I'd associate him with young love and Earl's conquests through the crotches of chicks), Domo Genesis (ghetto stuff such as smoking weed for time, giving it up, mischie , gunning and such ), Tyler (usually really strange stuff, childhood trauma and the insanity it ultimately results into) and RZA, who makes an appearance in his track Molasses.
Basically, the album brings forth Earl's youth, but it actually combines it with maturity and its associated problems (by having THAT voice and flow plus the awesome guys that join him in this endeavor to channel his feelings and life into something physical). We hear his voice bringing forth diverse states, his inability to adapt and retain himself to a certain pre-existent group " too black for the white kids , and too white for the blacks ", proves once more that this young L.A. hip-hop prodigy brings something new to the scene, no longer limiting himself to older concepts (the racial differences) that were a common thing in the early stages of the genre. The instrumentals used are extremely varied, ranging from jazz inspired rhythms like in Burgundy to retro beats like 20 wave caps and Molasses. Then we get to songs like WHOA - this is the essence of Tyler's dark influence on Earl and the latter one's capacity to spit tongue twisters like a cigarette butts: "Too pretentious, do pretend like he could lose to spitting/Steaming tubes of poop and twisted doobies full of euphemisms". Of course, he's still young and will always dump his randomness through his sheer genius.
As a whole, the album flows through your speakers like beer through one's throat, easily and leaving a satisfactory smile upon thy face after it does its deed. It brings forth a lot of combined elements and demonstrates that young artists can improve and respect music without seeming instrusive or cocky.
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