From the opening chords, played by the keyboard, on the first track, “Huey,” it is clear that Earl Sweatshirt’s newest album “I Don't Like Shit, I Don't Go Outside” is an atmospheric and moody album that the 21-year-old uses to vent about the personal problems he faces in his life, and a testing track to see how much he has grown sonically since his debut album “Doris.”
Earl self-produced all but one of the beats on the album (the exception being “Off Top,” which was produced by fellow Odd Future member Left Brain) and his signature can be heard on every haunting, spaced out melody, such as the songs “Huey,” “Mantra,” and “Faucet.” While the hard-hitting drums and slaps that have been used in his earlier works shine through in songs such as “Grief” and “DNA,” the lyrics that are laid on these beats are impeccable. Earl Sweatshirt has been renowned as a lyricist since he was first discovered at the age of 16, and his words are sharp as ever.
The album clocks in at only 30 minutes long, but it took me sitting down through the whole thing at least three times to really start comprehending the references and punchlines of his raps. If you love the lyrical style of old school rappers like GZA and RZA from Wu-Tang, you will feel right at home listening to Earl. Instrument-wise, Earl works with piano loops that he mastered in his first album in songs like “Chum” and “Luper,” and lets the work he put into improving shine through in “Huey” and “DNA”.
“Grief,” the lead single off the album ends in a drum solo that had me calling it the “Chum” of his new album. While songs like “Faucet,” “AM,” and “Inside” use guitars and echo to make the songs sound spacey and haunting, the hard slaps and bass from songs like “Hive” and “Whoa” return on songs like “Grief,” “Wool,” and “Off Top.” The fact that Earl produced these on his own under the name “RandomBlackDude” also shows the time and effort he has been putting in as a producer in achieving his vision.
The subject matter covers many of the topics first introduced in his debut album, “Doris.” In the song “DNA,” Earl talks about dealing with the death of his grandmother, whom he felt he was not spending enough time with while recording “Doris.” In the song “Mantra,” you learn the relationship with the girl he had loved so much in “Sunday” on “Doris” is gone. He also talks about the problems that come from being a famous 21-year-old in “Mantra.”
As always, Earl stays light on using other artists for features. Vince Staples and Nakel Smith, two of Earl’s favorite contributors both make appearances, with Nakel’s verse on “DNA” being the standout. Other than those two regulars, the other features are from smaller, unknown artists who only take a verse or so. The most glaring omission from the features would have to be fellow musician and Odd Future member Tyler, The Creator.
When interviewed by Clash Magazine, Earl said that this is the first album he is behind 100%, whether good or bad, and that he “feels like himself again.” It is rare that a rapper produces virtually all his own beats these days, but Earl seems to have mastered his voice and production and delivers a unique sound that cannot be replicated. The growth from freshman to sophomore album is apparent, the atmosphere perfect, and the lyrics and instruments fit together like pieces of a puzzle.
