Doris
Earl Sweatshirt
Tan Cressida and Columbia Records
Despite the amount of hype given to his major label debut, one could say that 18-year-old Odd Future rapper Earl Sweatshirt was one member of the California rap collective that had yet to be truly discovered.
Having released a mixtape in 2010 at the height of Odd Future’s shock-rap stage, the young MC was promptly sent to boarding school in Samoa. Returning in 2012, he remained relatively silent when it came to his own material.
Hip-hop fanatics have been hungry for a proper effort from Earl since his return to North America, Despite the fact that this is his first full-length release. Does Doris live up to the pre-release hype it received?
In a lot of ways, it does.
Early on, Earl revealed his change in direction when it came to musical output, saying he wanted to make “pretty music,” and that those who were fans of his first violent, shocking mixtape would be disappointed with the stylistic shift.
This is apparent in his subject matter from the get-go. On the track “Chum,” Earl offers up largely self-reflective bars, addressing the issue of an estranged father—“It’s probably been 12 years since my father left/Left me fatherless/And I just used to say ‘I hate him’ in dishonest jest”—or on the Pharrel Williams-produced “Burgundy,” touching on the expectations associated with a debut album.
The beats and instrumental are anything but textbook as well—there are lots of dark, minimal moments, like in “Guild,” or busier instances too (“Burgundy” once again, “Chum,” and “Knight”).
Earl also handles some production on his own, under the alias ‘randomblackdude,’ creating a few ominous instrumentals. There’s even a Canadian connection, with young Toronto jazz-hop trio BADBADNOTGOOD backing up Earl on “Hoarse.”
Where Doris stumbles, however, is within Earl’s delivery. It seems to be an acquired taste, at least to myself. The rhymes and wordplay are clever and on point, but his monotonous style tires after a few listens.
Some good features from Odd Future cohorts Domo Genesis, Frank Ocean, Wu-Tang Clan’s RZA and Tyler, the Creator help break up the plodding delivery.
Doris isn’t quite the instant classic many were hoping it would be, let alone the best hip-hop release of this year.
But, what Earl does demonstrate with this record is a noticeable improvement in his wordplay and quick tongue. The drastic change in subject matter is also a plus too, ditching a large portion of the misogyny that shocked listeners not long ago.
In a crew like Odd Future where some of their recording artists are hit-and-miss, it’s a welcome addition to their musical offerings of 2013. From a young artist with a lot of potential, it’s a good first step.
