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There's no chorus outside of the "Pray for the people" sample floating hauntingly in the background while Earl speaks a single verse on his own tempo. Album standout “MTOMB” lasts only a little more than a minute of Alchemist production with a slowed down 70s funk sample. Mostly produced by Earl himself, the lo-fi sound and crackling samples blanket these seven songs with an air of underground hip-hop sent through a modern filter. Earl dots the expressionistic outing with fleeting genius lines like "Guess I was right, 25 was a quarter to life / I'm on it, I strike, trials” that flow in and out like he’s opened up his own scattered brain for the rest of us to hear. It's a fascinating, and brief, collection of music. His latest collage of creativity comes in the form of Feet of Clay, a 7-song album that clocks in at less than 15 minutes.
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But, throughout this decade, he's spurned that possibly trajectory more and more, as his music becomes more strange, more experimental, and increasingly more unique. After his breakthrough solo album, Doris, it seemed that he was primed to be the next big star in the genre. It's incredible to see Earl Sweatshirt completely reject popular hip hop music. Extreme lyrical confession is the mode du jour, and the real winners are us, the listeners. There’s little musical overlap between all of these releases-Eilish transformed the sounds of a slurp from removing her Invisalign into an intro while Vampire Weekend manage to fit an iLoveMakonnen interpolation into a song that sounds like Van Morrison’s “Brown Eyed Girl”-but each stun in their honesty.
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17-year-old Billie Eilish became the new auteur of the teenage wasteland as her When We All Fall Asleep, Where Do We Go? LP smashed through the public consciousness. The Red Headed Stranger and the Boss broke hearts, revealing their anxieties as each meditated on legacy and mortality, and FKA twigs warped heartache and depression into the most glinting sounds of tomorrow imaginable. Solange Knowles abandoned traditional song structure entirely on her career-making When I Get Home while Ariana Grande and Sharon Van Etten took enthralling sonic traipses through their own mental wellness on Thank U, Nextand Remind Me Tomorrow, respectively. It’s all to say, 2019 was exceptionally-and refreshingly-weird for the world of music. A former country singer became an anime master, heartland rock’s long-serving king embraced folk balladry and cinematic strings, and a young female pop (super)star arrived, draped in over-sized Louis Vuitton gym shorts.