Check out one of the, thankfully, more jazzy tunes from Tyler, The Creator’s newest album, Cherry Bomb. But don’t worry, there’s plenty of Tyler’s characteristically coarse lyrics and additionally some uncompromisingly abrasive production of his own hand, if you’re into that. It’s been two years since Wolf; Tyler collaborates with Kanye and Lil Wayne on the record, and doesn’t hold back with the track titles, which are in all caps. At any rate, we dig “FIND YOUR WINGS;” see below.
Not much has to be said to introduce Earl Sweatshirt. We’re big fans of his flow and…facetious…persona. We’re not sure what to make of his Instagram (see soapmanwun), but, at any rate, in the future keep an eye on his posts for teasers every now and then. The…candid…title of his new album, set to drop this week, is I Don’t Like Shit, I Don’t Go Outside. Sony must be at the top of the list of Shit Earl doesn’t like right now, that is, after botching the rollout of the album, breaking the track list, including the features (Vince Staples, Wiki, Dash, and Na’kel), a week early. Presumably, he wanted to partake in the recent trend of surprise releases, but so much for that. In the meantime, enjoy the dark and poignant “Grief.”
Sour Soul, yesterday’s release of Toronto-based BADBADNOTGOOD’s collaboration with the “Staten Island rap champ,” Ghostface Killah, features the production of BBNG and Frank Dukes who forgoes samples for intricate instrumentation. “Gunshowers (ft. Elzhi)” opens with a hypnotic strumming of the guitar tempering Ghost’s emphatic vocals, reminding us why his diction has been so commodified by the New York Hip Hop scene (a la Action Bronson). Check out the full album here and “Gunshowers” below.
Two days ago, OFWGKTA’s Hodgy Beats dropped DENATAPE2, almost six years after the precursor, DENATAPE. Check out the features from Domo Genesis and Hit-Boy and especially the track “HakuemeniB.” It uses the beat from “Aquemini,” the title track from Outkast’s 1998 album of the same name. In the first verse, Hodgy talks about himself in the third person, and then, in the last, responds in the first, conceding to the criticism of the first-verse other in some sense of frustrated self-awareness.