I’m not crazy I’m a fucking table I’M A FUCKING TABLE
I’m not crazy I’m a fucking table I’M A FUCKING TABLE
Tyler, The Creator — AnalogI can grab the fireworks, the soda, all the cookies we can eat
Make you nauseous but be cautious, this is not Dawson’s Creek
I wonder how this would sound to someone who had never heard an Odd Future song. I never totally realized how fucking weird this song is, but it has an almost experimental bent. The lyrics are almost ridiculously innocuous, but the way Tyler delivers them still sounds menacing, as if he’s invoking those pleasant images of summertime ironically, and whatever actually is happening is a far cry from skinnydipping in the lake. The far-away echoey laughs at the end seem to confirm that this is in some distant memory or Tyler’s mind, and the bizarre ending “we can watch the sun set” chant pretty much exists to throw things even more out of whack at the end. Any of you who haven’t actually listened to Odd Future, I’m curious: what’s your take on this song? (there’s no rape or murder imagery or anything)
Too much icing, not enough cake.
We came for the exciting, almost revolutionary new style of gameplay and puzzles that, while difficult, relied almost entirely on logic, and stayed for the surprisingly well-executed plot and unique villain. So what do they do with the sequel? Make the puzzles overly simplistic so as to facilitate the newly expanded plot.
The first album drew our attention because of the unusually singular, assured, and unique voice and style for an amateur rapper, and stayed for the unexpected flashes of real-life pain and emotional honesty. With the second album, we got an overlong, at times whiny, album that relied too heavily on said real-life emotion with a few pointless “I can still be controversial” verses.
This is a trend I’ve been noticing a lot in recent entertainment. Likely because of how little barrier there is between creator and audience now, due to the increased use of social networking to build a fanbase. While it’s definitely worthwhile to take fans’ opinions and thoughts into mind, it’s also important to realize that the products these people first impressed us with were their doing entirely, without any audience input.
There are a couple ways I can think to fix this. There’s the approach that Minecraft took, making its creation completely public and taking popular opinion into account throughout the process of its creation, rather than just up until the process actually starts. Or the creators of entertainment could just try and have more confident in their own abilities to please without relying on fan service.
Just some thoughts I’ve been having lately. I also sorta noticed this with the Weeknd’s new tape, Thursday. Can any of you think of other examples?
Game ft. Tyler, the Creator, Lil Wayne - “Martians Vs. Goblins”
More than anything, this song further proves just how singular and insular Odd Future’s aesthetic really is. Despite the fact that it’s on Game’s album, a far more mainstream rap artist, it resembles Tyler’s style far more closely than his own. Unlike the rest of the album, which relies on heavier beats, this one uses OF’s signature dark, Neptunes-influenced sound. Game’s verse, too, sounds like it could have come from an OF album, graphically threatening various famous artists for no apparent reason, giving his own variation on “I’m a fucking walking paradox” (“He killed me on my own track/So what, not true/Fuck you”), and even shouting out “Odd Future Wolf Gang” as if he were a part of the group. It’s a little strange for a 31-year-old rapper to be emulating the style of a confrontational 20-year-old kid, one who said himself that he’s ready to move beyond that style, but mostly this song goes to show how easily a strong and unique style can change the music surrounding it.
Also, what is up with that Lil B diss? I know that people have wildly different opinions of his talent as a rapper, but seriously, dude is the most likable musician ever. What other rapper has fans begging him to sleep with their girlfriends?
this is amazing.
I don’t like how ”Kill people, burn shit, fuck school” has evolved.
It was cool when it showed up on “Pigions” cause it was unexpected and definitely had a slight sense of irony, something in which Goblin is a bit lacking. I thought it was sort of hilarious too; when I hear Tyler say “burn shit” I don’t think of arson; I think of how my friend and I used to steal his dad’s campfire lighter and melt action figures. It has that really precise balance between serial killer and hyperactive 10 year old (I could probably say that about Tyler’s entire persona, actually. He’d probably agree). But now it’s supposed to be some sort of rallying cry, which makes a little sense but it’s almost opposite the original intention. Instead of knowingly provocative and intended to piss people off, it’s communal and sorta positive. Which I don’t know, it sort of declaws it, . It’s still shocking and edgy-sounding, but just because of the content, not the intent. I mean, I can’t blame him. It manages to get a big part of his aesthetic across in six words, and is as catchy as it is edgy, and he’s gonna need an excuse to get roomfulls of fans to chant it back at him for their first big tour.
I actually love “Radicals,” but it could do without Tyler’s weird between-verse Satan W.K. inspirational speeches (except for “I’m a fucking unicorn and fuck anyone who says I’m not,” obviously). They tend to overstate his points, rater than letting the music speak for itself. Which also makes sense, seeing how often people misinterpret it.
I like that I complain about OF thinkpieces then go ahead and turn my blog into one long, disjointed one.
I don’t even mean in terms of us disagreeing on the album; art is subjective after all. I mean that in its 1500 words, he mentions nine songs. All but one within the span of less than 100 words:
For everyone else, the album remains an either/or prospect. For one, the record could have used an editor— it’d be stronger if it were 20 minutes shorter. Yet the highs are very high: “Yonkers” remains a potential frontrunner for song-of-the-year, and tracks like ”Sandwitches”, “Analog”, ”Tron Cat”, and the Frank Ocean feature “She” work as standalones away from the album as a whole. Tyler’s most inwardly focused songs— the therapy-session set pieces “Goblin”, “Nightmare”, and “Golden”— are also fascinating portraits from an unmoored mind struggling to remain grounded.
Needless to say, he doesn’t go into any depth about any of them. It doesn’t even seem like he listened to the album more than once: among such (mostly valid, I might add) criticisms as “almost nothing that counts as a chorus” and “[The songs] certainly aren’t jokes for his friends— there’s not a lot of humor on Goblin,” there’s no mention of the notable exception “Bitch Suck Dick,” basically the opposite of what you’d expect after hearing those criticisms. A (hilarious) semi-parody of Lil Jon-style blowjob rap, there’s nothing meant to be taken seriously in it (the chorus is simply “my bitch suck dick like she suck dick”). Furthermore, it features Jasper and Taco, two dudes who can’t rap for shit and are only in the group because they’re friends with Tyler. It’s only one song, but it’s such an obvious exception that omitting it from a review whose biggest criticism is the album’s self-seriousness and density is a huge overlook.
Really, this review is indistinguishable from the many bland Odd Future thinkpieces that have been circulating as of late. I mean, he even refers to the song “Yonkers” as “excellent,” but gives no reason why. In a review of an album with that song on it. Really, what he’s reviewing is the album’s potential cultural impact, which explains why he would have such harsh words as “a pathetic attempt for an underdeveloped, disconnected mind to locate some emotionality, control, or simply attention” but still give it a high score. I’m actually pretty disappointed about this. After countless yawn-inducing cultural-analytical thinkpieces, I was excited to see some professional writing primarily about OF’s music.