#15: 1017 Thug – Young Thug

For better or worse, 2013 has undeniably been the year for trap music. Saturated with molly references, menacing bells, thudding bass and auto-tune, most of this music has been aggressively forgettable. Even the most passionate trap-enthused DJs haven’t kept most of these songs in rotation. Nevertheless, amidst this atmosphere of ephemeral mediocrity, one particular artist is etched into our minds: Young Thug. The Atlanta artist released 1017 Thug back in February, but it’s still a fresh project. Released a few weeks after Young Thug‘s signing to Gucci Mane‘s 1017 imprint, the mixtape reminds us of the unbridled experimentation that characterized trap’s initial emergence. Before trap music had a readily identifiable aesthetic, it was basically the sound of people trying to make money by any means necessary. Accordingly, no stone was left unturned; no idea was left unconsidered. Young Thug keeps that spirit alive, using trap sounds to create music that doesn’t easily fall into the categories of “street anthem” or “club-ready.” 1017 Thug features him truly exploring what trap can do beyond making people “turn up.” Of course, this mixtape will make you turn up, but that’s not all there is to it. There’s some genuine craftsmanship here.

#14: Summer Knights – Joey Bada$$

Young Brooklyn rapper Joey Bada$$ had a hectic 2012. The release of his mixtape 1999 was insanely successful, very quickly propelling him and his Pro Era crew from internet underdogs to widely acknowledged emcees. Yet despite these gains, the year ended with a tragic los:, the suicide of Joey‘s friend and fellow crew member, Capital STEEZ. Joey and company strongly kept chugging along, working with other artists, touring and just generally trying to capitalize on their hard-earned opportunities, but death is a strange and unpredictable experience, so when Summer Knights was announced, there was some genuine trepidation regarding how good the music could be in the wake of such a tragedy. Fortunately, Joey delivers. Whereas 1999 painted Joey and Pro Era as meticulous nostalgists, Summer Knights shows that the crew’s artistic roots extend far beyond 90’s New York. New York’s particular contributions to hip-hop are still central to how Joey creates, but Summer Knights depicts Joey with leanings toward reggae, dub, poetry and arguably even some punk rock, with flows to match.

#13: Cut 4 Me – Kelela

Kelela has the uncanny ability to establish harmony amidst the most elemental chaos. Featuring graceful melodies atop amorphous tracks from producer hive Fade to Mind, Cut 4 Me is 50 minutes of fearless exploration of voice and affect. Strikingly, most of the songs are remixes, yet Kelela stealthily colonizes them all, owning them for herself. Some of these instrumentals truly are intimidating, yet Kelela faces them like a veteran, variously taming them and absorbing their unbridled energy into her melodies. Cut 4 Me is the musical equivalent of the comic book character Storm controlling, unleashing and becoming one with the weather.

#12: King Remembered in Time – Big K.R.I.T.

The consequence of giving fans consecutively stronger releases is the escalation of their expectations. With the release of Live From the Underground, Big K.R.I.T. found himself fighting against the quality of his former releases, much to his chagrin. After all, he made many sacrifices for Live From the Underground, namely its necessarily small number of samples in comparison to his mixtapes. Dealing with the reception of his debut album, the Mississippi rapper doubled-down on King Remembered in Time, actively competing with and trying to best his previous works. He isn’t as successful as he could have been, but the tenacity and the gumption of the project resonate well. K.R.I.T. both gives fans what they want and gives them a potent “STFU,” all while remaining relatively innovative and open-minded. There are surely some misfires, but when K.R.I.T. is on point, he’s truly unmatched. Read our full review here.

#11: No Poison, No Paradise – Black Milk

Black Milk‘s biggest career mistake may have been titling his 2010 LP, “Album of the Year.” While that project certainly stands firm as a great body of work, it is on No Poison, No Paradise that the Detroit emcee/producer crafts his magnum opus and undoubtedly one of the best albums of 2013. From the Mel-assisted opener, the listener is taken on a morose journey through the childhood of Sonny, a fictionalized character brought to life by Black Milk’s own experiences. Think of this as a more flushed-out and hyper-realized version of The Roots’ Undun. “Deion’s House” tells the story of Sonny’s friend, who is a quasi-bad influence, given the fact that he pulls Sonny towards the street life, while at the same time pushes our hero to pursue his musical aspirations. Herein lies the narrative in a nutshell: dealing with the influences of your surroundings while striving towards a greater goal. While Black Milk’s production sometimes garners more attention than his lyrical skills, as do his collaborations with the likes of Danny Brown and Jack White, this is the album that proves that his pen game is just as lethal.

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On the album opener, “Goon’N,” between the opening and closing verses, Domo confesses, “Hell yeah, nigga. This shit amazing, I can’t believe it. It’s like unbelievably amazing.” He eventually begins bragging (of course), but his surprised response to his own music has an important implication, one that’s sublimated throughout the album: they recorded MellowHigh with nearly no expectations. The fact that the result of their no-stakes effort is actually good marks an interesting shift in Odd Future’s collective development. They’ve always made music organically, without any set expectations, but the polish of MellowHigh couldn’t have happened back in 2011. Somehow that lack of expectations would have manifested in a throwaway line or two, or a lame gag. Here in 2013, they’ve grown so much that they can utilize their spontaneity without becoming victims of it or having to “summon it” through force. Otherwise put, they can stage dive without risking injury or doing it out of “obligation.” They’ve reached a state of pure confidence, one that’s so subconscious Domo is surprised at how good they are, as if he’s forgotten.

Beyond Domo‘s surprise, this confidence is most apparent in Left Brain‘s choice of beats. He’s always pushed the limits of anyone rapping over his instrumentals, but here he ups the ante. Songs like “Nobody” and the aptly named album apex “High Life” are characterized by truly sinister synths. On the former, Left Brain makes the synths wail like agitated birds, smothering them with boulder-sized heapings of snares and bass as he subtly pitches them up and down and back again. The effect is tortuous, but in the best way imaginable. “High Life” is even more riveting, featuring subdued synths that flutter alongside frenetic drums, concentrated bass and repeated boasts from Domo and Smoke DZA. Left Brain even manages to incorporate Curren$y‘s unintelligible mutterings into the instrumental.

Even with all these manifestations of confidence, confidence alone is never enough. Bolstering Left Brain’s confidence to push against the grain is skill. On MellowHigh Hodgy and Domo are particularly focused, especially for an Odd Future project. Of the myriad laughs and jokes that likely occurred during the recording process, only a few made it to the album, mostly concentrated on the album closer “Cigarillo.” To clarify, this focus isn’t humorlessness. Hodgy is as crafty as ever: “Fuck a pig, bitch! Word to my Muslim pops.” And Domo shouts out Chief Keef at the end of his verse on “Self Titled.” Resident clown Jasper even makes a brief cameo on “Goon’N.” In other words, rather than something that they actively avoided, humor is simply something that they largely just weren’t going for, so they stuck to keeping it at arm’s length.

In the end, what MellowHigh was going for – a solid demonstration of their ability to make interesting music – was definitely accomplished. One of the dangers of constantly producing music with the same people is staleness. After 4 years of frequent in-house collaborations, one would expect Odd Future to have collectively either plateaued at best or decomposed in a blaze of incestuous banality at worst, but they continue to crank out solid projects. Following Wolf, Doris and Feel Good, MellowHigh is further proof that Odd Future’s family-first approach is facilitating, not inhibiting. Skill certainly plays a decisive role in MellowHigh‘s success – after all, there are plenty of music crews that only work with each other and still produce duds because they lack the talent- but the confidence to push each other, to not take that skill for granted, is something that is unique to Odd Future. Hopefully things will remain that way for years to come.

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Doris didn’t fall out of the sky. Since the release of “Home,” Earl Sweatshirt‘s first official song since being spirited away during the heyday of Odd Future‘s exciting ascent , Doris has been anxiously anticipated, almost annoyingly so. Part of the anxiety was the lack of an apparent lens through which to anticipate exactly how the album would sound. Earl‘s voice was deeper, his flow had become more dense and his content was no longer shockingly appalling . Moreover, despite Earl‘s presence on stages, on notable features and in a very limited number of interviews, Earl didn’t seem to be actively directing how we should receive him. Unsurprisingly, because patience and understanding are no longer acceptable forms of behavior, this anxiety gradually morphed into doubt and ridicule. People began to claim that Earl had no future. Earl eventually responded to this ridicule, sardonically mocking his detractors.

This nigga earl fell off bruh. This nigga boof.

— Earl Sweatshirt (@earlxsweat) July 21, 2012

This response was then followed by an explicit declaration a month later.

I hope i lose you as a fan if you only fuck with me cause i rapped about raping girls when i was 15.

— Earl Sweatshirt (@earlxsweat) August 12, 2012

In this tweet, Earl essentially provides a lens through which to view his new music: “I am not Earl.” Months later, the world received “Chum” another explicit declaration about the direction of his music. Then, as the months rolled by, these declarations increased, reaching us via performances, verses, music videos and “confessions.” There’s no need to intricately detail the ways in which Earl led us down the road to Doris, or to pretend that the journey and the music are equivalent, but one stop along the road is particularly useful for understanding exactly what Doris is (and what it does).

This special moment came less than a week ago, via Williams Street in Atlanta, Georgia, home of Adult Swim. Backed by Thundercat‘s careful bass and sandwiched between Captain Murphy (Flying Lotus) and Viktor Vaughn (MF DOOM), Earl is right at home. And it’s not because these three are the “3 Kings” of dark humor and internal rhymes or because DOOM is one of Earl’s biggest influences. Earl fits in here because, like DOOM and Captain Murphy, the line between his alter-ego (Earl Sweatshirt) and himself (Thebe) is blurred, possibly nonexistent. Thus, his explorations of villainy take an interesting turn. He is literally between villains: his mischievous, relationship, damaging self and his witty rap persona, both of which are guilty of regrettable actions. When he removes his mask (sweatshirt?) at the end of the day, there’s another one underneath, ad infinitum.

Doris takes this perpetual oscillation and gives it life, burying the listener between this ongoing inner battle via blindsides from both directions. The album begins with “Pre,” a song that has a vintage Odd Future sound (dark, scratchy, echoing synths), yet features none of its members (besides Earl). Earl and unexpected feature artist SK La’ Flare make dark boasts involving pickaxes and other sharp objects while producer Michael Uzowuru envelops us in evil. Then, on “Burgundy” this macabre momentum is stifled as Earl juxtaposes damning thoughts about his poor prioritizing with an enlivening  and cheerful Neptunes beat. Notably, Vince Staples snidely mimics Earl‘s fans, who prioritize new music over Earl‘s well-being. This switch-up between Earl the rapper and Thebe the person occurs again between “20 Wave Caps” and “Sunday.” On these tracks, similar to the organ driving the two songs’ instrumentals, Earl himself anchors the tracks despite their different directions.

The oscillation becomes less pronounced as Doris continues, but that seems to be the point. As Earl and Thebe melt into each other, another protagonist emerges: randomblackdude. randomblackdude is ostensibly Earl‘s producer alias, but “RBD” is more than just another moniker. “RBD” has production credits for nearly half the album and manages to maintain the album’s atmosphere even in the absence of vocals (See “523”). Furthermore, as a name, “randomblackdude” perfectly captures Earl’s life: he is an unexpectedly talented guy who attempts to be treated normally by nominally downplaying his talents all while showcasing them. That’s a whopper of a sentence and a whopper of a situation, but throughout Doris Earl treads this ground with sly aplomb, mining words and sounds for unseen treasures while casually delivering these gems with a calculated air of indifference. In other words, Earl is excited by wordplay and sound experimentation, but he doesn’t feel forced to embody this excitement himself; he leaves his creations to their own devices, content with their meticulous design.

For some listeners, this lackadaisical, hands off approach is stultifying; it indicates a lack of passion. They ask how they’re supposed to engage with a work that has, “I’ll fuck the freckles off your face, bitch” (“Molasses”) as its most memorable hook. They wonder how to get excited by the music of an artist who looks ambivalent about being on Jimmy Fallon, playing with living legends, The Roots. They look to the sky and wonder where the hell this album came from.

This album comes from the mind of a villain with no interest in either heroics or villainy. His motive is simply to tell his story and his means is through guttural, word-warping, ear-pinching rap music. The result is variably oblique, opaque, offensive and off-putting, but on the whole, it’s enriching. This is what music can be when we let the villains remain at large.

Further reading.

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Earl Sweatshirt’s highly-anticipated sophomore album is less than a week away and now, perhaps thanks to a leak, the album is up in full for your streaming pleasure. Check out the 15-track LP here, which boasts features from Odd Future members, as well as Mac Miller and RZA. Doris is available August 20.

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Odd Future’s most hyped artist will finally deliver his follow up to 2010’s acclaimed and reviled EARL. Earl Sweatshirt took to Twitter moments ago to reveal that the album would arrive on August 20. You can also view the cover art for the album up top. Furthermore, we now have the tracklist, which you can view below. We hope you are as excited as we are.

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In a recent interview with MTV Australia, Earl Sweatshirt revealed that Doris, his debut album, is coming in late July, whatever that means. No specific date was given, but something’s better than nothing. Watch him and Tyler play around below.

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