best earl sweatshirt songs

Earl takes every preconceived notion about rap and flips it around. Sometimes, Earl, who engineered the whole album, buries his whole voice in those sounds, reluctant to become anything other than one more element in the murky mix. Earl Sweatshirt was gone, and his comrades wouldn’t say where he was. It’s always been Earl versus the world.

His uncle and father are gone, but Earl is still here, carrying on their artistic legacy—and, with the help of his collaborators, building his own. Ever creatively restless and enigmatic, the once edgy and detached Odd Future graduate all but abandoned his previous styles for a new world of washed-out soul samples, fragmented bars, and songs that were gone as soon as they arrived. Sounds drift in and out of the mix. Here’s the other thing I remember: Earl Sweatshirt, fumbly and tentative, stepping onto those same stages two years later, trying to figure out his new place in the world. Sometimes, he raps the names of people who are presumably in the room — the young New York rapper Mike, who doesn’t appear on the album, comes up a lot — which makes me wonder how much of the album he just straight-up freestyled, taking inspiration from whatever was in his field of vision. Written by Elliott Sharp 25 October 2016. The absence of Earl’s father loomed huge even over the music he made as a 16-year-old budding-exile wunderkind. Doris, the album that Earl Sweatshirt was at SXSW to promote, was quite possibly the most depressed and downbeat and ambivalent major-label rap debut in recent memory.

This is symbiosis, not thievery. Why should he? It’s a deliberately elusive sound — dank and enveloping and purposely frustrating. Thebe Neruda Kgositsile (born February 24, 1994), also known as Earl Sweatshirt, is a rapper, producer, DJ, and a former member of the LA based collective Odd Future. Domo Genesis, who was there for that big wave two years earlier, did not look happy to be onstage. Some Rap Songs is a confrontationally understated title for this album, and it’s only technically accurate. And yet Earl remains a staggering writer, so his lyrics, unplanned as they may be, remain expressive and evocative. Earl Sweatshirt did not look happy to be onstage. Beats lope and hang and drift away. Instead, he raps obliviously over the top of everything, his voice haggard and disconsolate. As he receded from the spotlight, his mystique grew—as did fans’ desire to hear him to do what he does best. The music stumbles and twists and wriggles. His second album, I Don’t Like Shit, I Don’t Go Outside, established Earl’s identity as a man apart from the then dissolving crew and saw him working with East Coast rappers also dealing with dark emotions and budding rap careers in New Jersey’s Da$h and New York City’s Wiki.

The cross-influence between Earl and his cohorts is evident in his vocals too. Melodies stubbornly refuse to resolve. For an introverted kid who knew he could rap but was reluctant to accept the exposure and invasions of privacy that came with being a bona fide pop culture phenomenon, it’s been an uncomfortable evolution. The world created by Earl and his new cohorts—including up-and-coming NYC rappers Medhane and MIKE, producer-rapper Sixpress, aka Ade Hakim, of the Bronx collective sLUms, and Gio Escobar, frontman for genre-bending ensemble Standing on the Corner—is based on abstraction, where form is secondary to mood. ... his mystique grew—as did fans’ desire to hear him to do what he does best. And over tracks like those, Earl lets his mind wander free. His first tape, Earl, and his official debut, Doris, rest squarely in the Odd Future canon. He seemed perplexed at the attention surrounding him, and he seemed equally perplexed by the free-drinks crowd at the venue politely enduring the songs from the not-yet-released Doris. When Earl returned from Samoa, he kept rapping about his father, but the context changed. On “Playing Possum,” we hear a cobbled together duet composed of recordings of his mother, Cheryl Harris, thanking Earl and describing him as a “cultural worker” in a keynote speech interwoven with his dad reciting an excerpt of a poem called “Anguish Longer Than Sorrow.” Taken altogether, the track is a letter from a loving son honoring his progenitors, a letter that his father did not get to hear before his death. As eloquent as Earl can be, though, the line on the album that grabs me the hardest is the one where he can’t even quite place his own hurt: “I think I spent most of my life depressed.” It’s the “I think” that really gets to me. Earl’s father, the late poet Keorapetse Kgositsile, befriended Masekela when they were both young South African artists studying at New York universities in the ’60s. This man had disappeared from his life, and yet he’d also left behind a difficult legacy to live up to. All the same, the backing track is entirely backwards and Sweatshirt's verse is lo-fi and fuzzy, interrupted occasionally by noisy samples. Resentment and laments of abandonment are replaced with acceptance and embrace. When FlyLo stepped out from behind his laptop to rap a couple of verses, it felt like a blessed reprieve, a leading-by-example moment from someone who understood how this whole routine was supposed to go. When Odd Future had played the FADER Fort in 2011, they were a pack of hyenas swarming out of a cage.

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