Whether atheist, agnostic, or otherwise, if you’re a Hip Hop fan at some point in your life you were, or still, fascinated with Hip Hop’s own second coming. However, those who were unlucky enough to be considered the “chosen one” found their careers pummeled to a plum before being crucified by their once devout fan base. Needless to say, the angst and unrealistic expectations set forth by uncompromising Hip Hop zealots can become too burdensome a cross for any artist to bear. That is, however, unless you’re as nihilistic or as callous as Hip-Hop’s unlikely savior Tyler, The Creator. With a buzz liver than an irate wasp nest, Tyler amassed a cult like following within two years due to the popularity of his debut album Bastard, and singles “Yonkers” and “SandWitches” which took the web like a firestorm. But with the release of his much anticipated Goblin album, will Wolf Haley still maintain his “I couldn’t give a f***” attitude even in the bowels of a conspiring, leviathan like fan base if the album plummets itself?
If the sloth like and constipated self titled intro “Goblin” is any indication, it wouldn’t appear so. Here, Wolf Haley spits over a lulling and dreary beat venting to his “therapist” for over six minutes about haters, his god awful life, and absentee father. Translation: blah, blah, blah. Luckily the intro is followed by the web sensation single “Yonkers,” which serves as a reminder to why so many “f***” with the alpha male of the wolf pack in the first place. Indeed, the schizophrenic instrumental coupled with Haley’s nihilistic flow makes a deadly combination. Other tracks that are worthy of praise are “Nightmare,” which finds Wolf Haley flirting between his deepest sentiments and callousness, and “Tron Cat,” which is arguably the most lyrical track on the entire album. Indeed, “Tron Cat” finds the “blackest skin head since India Arie” granting death wishes and cutting victims “like a barber with a Parkinson’s disorder.”
However, too often than not, the bi polarized album lacks synergy between production, lyricism and content, and to be quite frank, the lackluster production makes the album painfully hard to listen to. “She” and “Her,” for example, finds the “walking paradox” violating his “I don’t give a f***” doctrine. Indeed, one could hardly argue that these regrettably sappy and vulnerable tracks are too awkward and just don’t fit on the album. The same argument could be made for “Analog,” but strangely enough, the Neptune-esque song bangs. Sadly, the same can’t be said for “B*tch Suck D*ck” which finds the Wolf Gang clique at its worst. Even the most loyal Odd Future die hard may find it inconceivable to listen to a track so ridiculous in terms of its content and instrumentation. Making matters worst, each rapper spits in Turret like fashion with lyrics like “I’m fly bi*ch, I should poke you in your eyelids, got the burner bitch, bow, bow” and “swag on my dick 30,000 million.” Even promising songs like “Fish” are left ruined as a result of Tyler’s inability to leave his best ish as it is. Sure, “Boppin Bitch” is a hidden track, but the 80 esque, watered down rendition of “Brass Monkey” should’ve been an unattached bonus track for iTunes.
It is clear that Tyler, The Creator is just another unfortunate soul who had the misfortune of living up to the hype of his obstinate fan base. Also, many who were a fan of the Bastard album may be disappointed by the album due to the hype that circulated the album Whether fans will continue to praise Tyler, The Creator as the rightful heir of the Hip Hop universe or crucify him unmercifully just like the second, third, fourth, and fifth coming before him is unclear. What is clear, however, this is an album that won’t stand the test of the time for years to come or find the Creator’s name boldly written in red in any Hip Hop bible. Luckily for the 20-year old emcee, he has thirteen years to prove all nonbelievers wrong.
2.5 Mics out of 5 Mics