Earl’s album is here.
I Don’t Like Shit, I Don’t Go Outside popped up on iTunes a few days ago, but now it’s actually here. It’s Earl’s second LP after Doris and folks have been waiting on it for a bit. I copped it first thing this morning when I woke up so I could let y’all know how it is. This is Spit Talking’s I Don’t Like Shit, I Don’t Go Outside review.
I Don’t Like Shit, I Don’t Go Outside: An Album By Earl Sweatshirt lives up to the wait. In it, Earl shows off his dope flow and lyrics that he’s always had, and the beats are mostly similarly dark as we’re used to, with some switch-ups. For one, most tracks end with like a minute where Earl drops off and the beat just goes. This keeps shit interesting, and Earl does too with this updated combination of his 15-year old mindset and his 21-year old self. Earl is introspective, depressed and boastful, sometimes on the same track. This is pretty much a smoking album that you listen to by yourself late at night, but it’s one of the best of those there is.
For its mad chill vibe, Earl’s dope flow, deep lyrics and the musical variety, I give I Don’t Like Shit, I Don’t Go Outside A:
The album starts with Huey and some unexpected organ that sounds like it came from Tyler. From the beginning Earl shows off his mad dope flow while already shit talking critics and bitches a minute into the album. It’s not quite 2 minutes long but it shows that Earl is still on that relaxed flow shit and has still got the lyrics down. The last 30 seconds of Huey are the beat dropping down before a voice says “and now, a formal introduction.”
Earl starts Mantra right away by rapping bout how he’s gonna show you how it’s done over some distorted guitar that sounds like it’s from a Wild West showdown. Earl’s big enough now to really rap about success, whether it’s how people around him treat him differently or how the fans react to him at shows. It almost sounds like he’s going for an anthem before the beat drops out for a second and then Earl comes back in hungry. By the end, Earl says fuck it and dips, leaving the beat to experiment a little bit. You can already tell this album is more musical than just rap, and Earl isn’t always the focus.
Faucet flows real nice
Mantra flows nicely into Faucet with an old Wu-Tang sounding beat, which is perfect for Earl to really spit some grimy shit about how his days are numbered. It’s chill as fuck, and it’s only the 3rd track on the album but I feel confident saying it’s one of the highlights. The beat switches up just enough to stay interesting but keep the vibe for Earl to talk about his family problems. This is Earl at his best, relaxed and introspective over a chill ass but back alley-sounding beat.
Then comes Grief, which came out a few days before the album to mixed reception. The beat is jagged and Earl’s voice is just a little different, like he’s trying to go even deeper than he usually sounds now. He’s got some good lines, like “I was makin’ waves, you was surfin’ in ’em” and “fishy niggas stick to eatin’ off of hooks.” In general, Earl’s flow is as dope as it’s always been, but his lines are a little more vicious now rather than just sounding dope. I can see why some folks didn’t like this, but it makes a lot of sense as a mid-album track with it’s slow, dragging beat (before it switches up again into some nightmare carnival sounding shit for the last 45 seconds.)
Off Top throws you off
Off Top is the 5th track on the album and starts with a smoke session and an even more jagged beat that makes it hard to think straight. It’s only 2 minutes, so it’s a chance for Earl to go back to that old Earl shit and just spit some mad dope-sounding shit without stopping over a grimy Odd Future beat. Even on this track though, Earl’s still getting even more personal.
Grown Ups starts the second half of the album and has the first feature from Dash. This is some late night cruising shit when you’re rolling around causing trouble. Earl talks about not trusting hoes and not even trusting his friends, and Dash fits right over the beat too. This is another highlight of the album, from the repetitive but captivating beat to the dope flow over it.
A highlight for the album and for Earl
AM//Radio has another feature, this one from Wiki. He spits some Chance the Rapper-sounding shit over a light, optimistic beat that sounds like a videogame paradise or something. Then Earl comes in talking bout how he skated before he rapped and his pops. The beat makes sense cause this is a mad nostaligc track, down to the nuggets on his fingers and his shirt like they was chicken crumbs. This is maybe the best track on the album, and maybe the best Earl’s ever done with his incredible natural flow. It cuts off a little earlier this time so the beat gets like a minute and a half to fuck around, but even this is real dope.
The album flows nicely then into Inside, the 8th track on the album. It’s another short one, less than 2 minutes long, but it’s a chance for Earl to spit some shit about what he’s been up to since he’s been finding a little success. Like the rest of the album, it’s a combination of dope lines and negative thoughts. He plays it real well though, switching up his flow on the track more than he would have a few years ago, keeping it interesting until the end.
A little Migos influence?
Then we get DNA (feat. Na’kel), which sounds like some more back alley shit for Earl to go off over. He flirts with the Migos flow a little though and generally keeps it a little quicker than he usually does. With how good his flow has always sounded, the idea of an Earl who’s also a master at rapping fast is just scary, but DNA shows us a glimpse of that. Na’kel brings in a totally different sound to the track, a little rougher and a little less smooth and it’s good cause it fits the dark vibe. the beat puts on. His verse is introspective and pretty down on himself too, so you know him and Earl identify with the same shit.
Again, the track gets like a minute at the end to just do what it feels. This is I Don’t Like Shit, I Don’t Go Outside: the tracks are front-loaded with rap and then there isn’t really a hook, instead Earl just drops off and lets the beat roll for like a minute. Most of the tracks on the album do this and let the production just flow. It’s not what you usually hear from rap albums (not even Sour Soul regularly does this), but it’s unique and it’s mad dope. This album is clearly made for kicking it, probably by yourself, probably with some smoke and just letting the music go through you.
Back to the good old days
The album ends with Wool, and a feature from the always dope Vince Staples. Vince Staples actually kicks off the rap with some gangsta shit, and it works. It’s a throwback to the old Odd Future days (even though Vince was never OF) where they’d throw on a dark beat and just go off. This album does that (like on Off Top) more than Doris did, while also showing more maturity and development. Then Earl comes in talking GOLF, showing that this is a shoutout to OF. Earl has reconciled his 15-year old self with his current self, and the results are a smart, quick, mature but not-too-serious and most of all dope rapper.
Good shit, Earl.
Earl Sweatshirt doesn’t do anything mindblowing on I Don’t Like Shit, I Don’t Go Outside, but he does classic Earl better than we’ve ever heard it before. It’s also a more musically interesting album than we’ve ever heard from Earl, even if at its base it’s still mad chill (but not just quite weed) rap. I’m mad looking forward to see what he does next, but until then I’m gonna fill a good number of lazy half-hours with this album and his old shit.