jason stives reviews the new album from the most talked-about artist in hip-hop …
There is a labor of love that has come rushing into mainstream culture for Tyler, the Creator, for good or for worse. The 20-year-old leader of Los Angeles rap outfit OFWGKTA (Odd Future Wolf Gang Kill Them All) has kept his buzz heavy thanks to a pension for dark and appalling lyrics, shameless on stage antics, and a reputation as a psychotic and troubled young pup regardless of if its true or not. Needless to say, if you are unfamiliar with his work up to this point, Goblin, his first major label release, seems like all the hype it has deserved. But on closer inspection, beyond the shocking lyrics of rape, kill, and torture, Goblin has the makings of a solid piece of work, if it weren’t such a messy show.
“Yonkers,” the lead single that launched every possible trendy label into a tailspin for Odd Future’s signing, sums up the plight of expectations surrounding Odd Future’s rise to stardom. Tyler declares with a hint of malice that he is a walking paradox, a possible illusion to his sudden celebrity status from creating an act to get people’s attention.
There are no doubt highlights, like “She” (featuring Frank Ocean) and the album’s latest single, “Sandwitches” (featuring Hodgy Beat), but the heart is lost on throw away tracks like the repulsively and personally unlistenable “BSD,” done exactly for the sole purpose to offend. It doesn’t offend to those who are aware of Tyler’s style, but to those it will seem unnecessary. For every “BSD,” there are standout tracks like the instrumental “AU79,” which incorporates heart beat like rhythms with sonic induced synthesizer melodies, but is that good enough?
Crushing beats aside, and some very well executed cuts featuring Tyler as the narrator/psychiatrist of his own insanity, he is given too much credit for his lyrics. While clever and at times inventive, they are a mess subversively. Looking beyond the shock value of lyrics like “I f@#*ed a pregnant chick, and then told my friends I have a threesome,” he is often spouting out of time, not completely in sync with the sound he is working with. Many of the tools and sounds used for Bastard two years ago reappear on less than profitable tracks. Even more repetitive are some of the reoccurring themes on the album. Some, like his disdain towards his father’s abandonment, were main focuses from his previous work and seem like the same old song and dance but we can’t judge his writing on what apparently drives part of his faux madness.
Maybe there is a bit of bias talking as most critics have willing bashed the album only to commend it for face value. Couple this with the sudden outrage over Tyler’s lyrics, something he has been doing for a few years now, it makes one wonder if this shock-hop record is there with an intention to be a joke or to be a new hybrid in hip hop. The album’s title track perfectly sums up what I believe to be Tyler’s intent and exactly the ulterior motive behind his work.
As the psychiatrist tries to ensure Tyler that he isn’t as vindictive and malice ridden as he plays its up, the Creators gravely and alluring voice spits back “I’m not a fucking role model (I know this) / I’m a 19-year-old fucking emotional coaster with pipe dreams / So kanye tweeted tellin people, he’s bumpin all of my shit / these motherfuckers think I’m supposed to live up to something?”
Maybe Tyler is all an act at our own expense. Clever and at times very versatile in his execution, the Odd Future leader may be creating this sound on Goblin just to mock the hype that we have so easily fed into.
Rating: 6 out of 10
I’d have to disagree with this review. I think it’s a great album, especially when listened to straight through. I don’t think it would be fair to write the whole thing off as an act.
And I’m pretty sure tyler and his friends made “BSD” just for fun. They are only kids, after all.