By Derek Askey
"It's money" opens Doris, the way-way-way-too-much-anticipated album from Odd Future standout and internal rhyme genius Earl Sweatshirt. "It's money," the intro repeats, "It's money." If you bought a physical copy, you're hearing that opening while thumbing through the artwork: an intoxicated-looking (though he kind of always is) Earl standing next to a crucifix, homeless people with grocery carts, graffiti, lots and lots and lots of pigeons. It's hard not to see a contrast.
Compare it with the also-grayscale-but-totally-different artwork of Jay Z's newest, Magna Carta Holy Grail, and you get a sense of what different spaces these two occupy right now. Hov's driving to the Met in a Bugatti; Sweatshirt's telling you how much everything sucks, scrawling it across the walls. It's money, I guess, but if you hear a clinking sound here, it's a can of spray-paint, not stacks of coins.
If you're tired of hearing about every rap record as it might relate to Jay, I hope you'll forgive the comparison, or even accept that Sweatshirt asked for it when he dissed Magna Carta on Twitter last month.
if you really fucked with magna carta then unfollow me— Earl Sweatshirt (@earlxsweat) July 11, 2013
I can admit, finding myself reacting against all of the "dad rap" tags that Magna got (unfairly) saddled with, Sweatshirt's tweet rubbed me the wrong way.The "FATHER FORGIVE ME FOR I HAVE TAKEN THE NAME OF OUR HOLY SAVIOR JAY Z IN VAIN" that followed irked me even more so: who the fuck does he think he is, etc., etc.
But here's the thing: I like Magna, might even argue that it's one of the most underrated records of the year, and Doris still runs circles around it. Sweatshirt sounds hungry. He has something to prove. And he does it.
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