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Earl Sweatshirt

the panic!

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1.) Thisniggaugly
2.) Earl
3.) Couch (feat. Tyler, The Creator)
4.) Kill
5.) Wakeupfaggot
6.) Luper
7.) epaR (feat. Vince Staples)
8.) Moonlight (feat. Hodgy Beats)
9.) Pigions (feat. Wolf Haley)
10.) Stapleton

"Earl Sweatshirt Releases His First f***ing Album. Lyrics About Rape, Coke, And Couches Will Be Blaring In  Your Ears With The Dopest f***ing Beats To Date. Featuring Production By Tyler The Creator, Left Brain And Others." -

my favourite new emcee. and one of my favourite albums of the year. been bumping this shit for a minute!

"Now pan the cameras back to me and pamela's amateur threesome with hannah montana's manager/Miley feedin' me Sandwiches for my stamina and santa's in the back laughin' cause my back crampin' up"

Odd future Wolf Gang Kill Them All. f*** Steve Harvey, nigga.

[discuss this shit, here]


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cant wait to download.

These kids are too f***ed up though. seriously. i do not approve of this music but f*** they are dope especially this kid. at this age he is equal to and better than a lot of legendary underground rappers.

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Based Frost is pleased

That not good enough for ya?

The Angry Hand of God

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I don't like the way this kid is making my name synonymous with perversion, drunkenness and strange sexual fetishes.


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can anybody hook us up with a different link...please!
the greatest rides u'd ever experince is upon the DEATH STAR....


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Some of that Horrorcore we missed a major record label will mess the talent in OFWGKTA

the panic!

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"Earl" made it onto The New York Times' 2010 Top Ten Songs.

cat is sixteen and makes music that can't be played on radio. at all. his mother heard his music and took him out of LA, to a restrictive private boarding school for gifted kids, where he watches from a distance as his crew gains a larger following each day. his debut album, given away for free and recorded in a bedroom studio with his friends (most probably for his friends) is well, pretty dope, honestly. it's highly formalist (think early Eminem meeting DOOM and they discover they share a nephew) and so surprisingly creative and unique--and also funny--that you actually forget this cat is talking about rape and serial killers [although there's also a mention of an absentee father and a heartbreak--but yeah, mostly its drugs and murder]. 

while you sleep, Hip Hop and its position in mainstream and niche media is changing. the internet is reversing the whole shit. the artists run shit directly, now, based on how captivating they are, and the media and labels follow after them to capitalize on their "buzz"/"meme potential"/"followers".

everyone wants in on the new shit.

it's also worth mentioning, that these dudes have basically crossed over to that 'indie' type of critical coverage and acclaim; the kind that lauds creativity and inventiveness and thinks of 'club-banger' status as okay, but mostly irrelevant.

basically, they're on top year lists with MGMT, Grizzly Bear, Panda Bear etc. something boom-bap, political or more traditionally rooted (whether 'commercial' or 'underground') rap music will never see.

their personas, too, are important. very important, actually. Tyler, the Creator himself said it on his myspace layout, back when he was an anonymous 17-year old (though I don't think he knew how prescient he was being): "the future is odd".  and it seems true. all the rappers getting buzz, now, are strange cats; hitherto unseen or else not fully discovered [Kool Kieth] in the rap game.

the obvious cat to mention here is Lil B The Based God, but if you think about it, even Waka Flocka Flame and Lex Luger's hype as f*** war-cry trap rap is strange in how singular and deranged it is. and even stranger that at 24, not only is Waka not fronting in his lyrics, he seems genuinely unshaken by the violence in his life, not even satisfying the prerequisite need to wear it on his sleeve.

[sideshot: notice how, outside of rapping over JUSTICE League beats, on Teflon Don Rick Ross basically tries to emulate the moods in other people's music: Waka on the Lex Luger beats ['MC Hammer'] , Drake on the joint featuring Drake ['Aston Martin Music'], Kanye on the joint produced and featuring Kanye ['Live Fast, Die Fast']--and we all know what these these 3 cats had in common, this year]

but, anyway, remember that article i excerpted?

"In February, the storied underground label Definitive Jux, co-founded and run since 1999 by El-P, announced it would temporarily shutter operations. The news confirmed something that has been obvious to many for years: Underground rap is dead. Or is, at least, not a useful way of describing music anymore. In its stead, a different brand of homespun rappers have taken hold."

"From the enduring ICP to the insurgent Lil B, Soulja Boy and their youthful contemporaries-- Danny Brown, Wiz Khalifa, Curren$y, Big K.R.I.T., Mac Miller, and others-- underground rap is changing every day, defined more by individual personality than by an all-encompa**ing ethos."

i wonder what, if anything, this means for SA Hip Hop, which isn't nearly half as connected (online) as the shit in the US. and also since SA Hip Hop still seems to hold to the binary of earnest conscious/'quality' rappers versus commercial dudes still copying trends from the early-to-mid 2000's era (crunk, electro, and soon, probably, Trap).

i don't know. apart from the internet connectivity, America hasn't always been like this. it had to get to a point where it was so saturated with the same shit, its own shit, mind you, that it got sick of itself.  turned on itself with parody; then incorporated postmodernism into popular culture, effectively discarding any un-sarcastic belief in shit, especially shit regarding alternative youth culture. art became just for art and life. not politics or society. in this way, they kind of started anew, without the weight of history. at most, things are referred to.

i don't think we're there, yet. i don't think the talented emcees are ready to discard Hip Hop Culture and its regulations as an ethos; i don't think they're ready to believe in themselves as individuals instead of a Hip Hop Community. and i think as a society, no one has a desire for that, either. well, at least not yet. you know how it is the way modernity has that trickle effect, from the center to the periphery; it took a minute before cats in my hood started wearing Wayfarers.

i don't know, maybe it's a good thing that we aren't there. maybe this is an opportunity to forge in a different direction.     

for once.


damn. so i ended up writing a 'think-piece'.  AG should pay me for this shit, ha ha
« Last Edit: December 21, 2010, 05:19:57 AM by the panic! »

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Great points about OF. I posted about them the other day on my blog ( So excited about these guys. Just wondering what others thought:

What does NSF(W) stand for? Why is the W in parentheses? N is for not, S is for safe, F is for, uh, for. The W, you scratch yo temple? Well, thatís not that simple. The W can mean either Work, or Whacks, or Wednesday. Mostly it means Not Safe For Wednesdays. NSF(W) is both meant to be a warning to listeners with more delicate sensitivities but also an attack on the lamest, most mundane day of the week.

This week, however, NSF(W) might, more than it ever has before, stand for Not Safe For Work. Actually, if the crew from the Odd Future Wolf Gang Kill Them All (OFWGKTA for short, or OF for shorter) LA rap collective would have their say, today NSF(W) would stand for Not Safe For Whites (theyíve explicitly said that their music is designed to, among other things, ďscare white AmericaĒ). When I first heard their work, particularly Tyler, The Creatorís Bastard album (2010), I immediately thought, ĎHorrorcore.í My mind flashed back to the macabre work of RZAís Gravediggaz side project. At the time Gravediggaz lyrically eviscerated the competition, and musically it sounded as if the RZA was composing from blood-spattered sheet music. Reviewers positively described the work as a sick joke. In some sense it seemed as if it was a kind of joke; like they had taken the violent content of rap music to an extreme. OF, however, has rejected the label of Horrorcore. The macabre nature of their work isnít meant to be a theme, but a reflection of their reality. Tyler says he just raps about the first thing that comes to his mind, and it just so happens that it is all dark and twisted. So, if Horrorcore is a joke and OF rejects Horrorcore, in addition to reading that as a rejection of a label, one could also say that these guys are not joking. That becomes obvious as one watches this recently released video by Tyler, The Creator of Yonkers, from his upcoming Goblin album.

Iím still on the fence about OF as a whole (I really only have their Radical (2010) mixtape to go off of) but Iím very intrigued by Tyler, arguably the main creative driving force of OF. Just in case you donít already know, heís like 18 years old now but has been doing his own music production, videos, covers, etc since he was 17. Much respect for that. But apart from that there is something different about his style; something so different that it made me realize how similar much of rap music is - both mainstream and underground. In this song he raps, ďf*** money, bitches, and diamonds. I donít need them.Ē Say wha? With that statement alone he distinguishes himself from 87% of past and present rap music. But he certainly isnít the first to reject rapping about these things. However, he is, I believe, one of the first MCs that Iíve ever heard to openly voice recalcitrance towards his rap contemporaries and ancestors. Iím not talking about beefing. He rejects everyone: ďI created OF cause I felt weíre more talented than 40 year old rappers talkiní about GucciĒ, he raps in the title song from his Bastard album. And then there is the album title: Bastard. He raps, with some regularity, about his hatred for the absent father in his life, but I think Tyler is a bastard of a different kind. I think Tyler is hip-hopís bastard son.

ODB (RIP) said there was no father to his style. With respect I feel like his style was a carry over from very early 90ís rap (e.g. Busta Rhymes in Leaders of the New School). Iím not sure the same could be said about Tylerís work. Of course, if hard pressed, Iím sure we could find similar artists in rapís history - people have suggested Eminem, but even Eminem had Dre. The music is in the same vein as MF Doom, B.o.B., Cudi, and Lupe, but I think Tyler has successfully divorced himself from the work of his predecessors. To finish his verse from earlier: ďI created OF cause I felt weíre more talented than 40 year old rappers talkiní about Gucci/When they have kids they havenít seen in years/Impressiní their peers/With the same problem/The only way to solve em is to go to Fathers Day convention with a gold revolver.Ē If Tyler is a child of hip-hop, then his attitude is a reaction to its departure from its fans to the underground, and its subsequent death. If his style is different then what is it? Where does he fit within the confines of the hip-hop gene? I think he may be the point at which a new species branches off from its evolutionary lineage and becomes something new. Or at least thatís how it feels.

If you think about it, an evolutionary step like this is bound to happen. To survive, eventually real rap music is going to have to evolve from the formulaic, overly produced beats and self-aggrandizing bad boy lyrics. Eventually there will be no more Jay-Z, no more Outkast, no more Wu Tang or other greats from the golden era to buoy rap. Eventually people will stop listening to tired a** underground artists personifying hip-hop and whining about how she left them. The so called freshman cla** (Drake, Big Sean, J. Cole) arenít offering anything new. Kid Cudi is desperately trying to create his own sound but it seems as if he lost something along the way. I wonder if Tyler and OFís version of bratty, shock laden, Bastard Rap will spawn a new rap genre. Only time will tell.

In the meantime Iíll be playing Tyler, The Creatorís work over and over. This video, a piece of performance shock art itself, is probably worn out from me playing it. If you are digging this like I am be sure to check out OF tonight (2/16) on Late Night with Jimmy Fallon (NBC at 11:35 central).