{"id":1248,"date":"2019-11-28T01:54:15","date_gmt":"2019-11-28T01:54:15","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/earlsweatshirt-feetofclay\/"},"modified":"2019-11-28T01:54:15","modified_gmt":"2019-11-28T01:54:15","slug":"earlsweatshirt-feetofclay","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/earlsweatshirt-feetofclay\/","title":{"rendered":"Earl Sweatshirt Comes Out of Left Field with ‘Feet of Clay’"},"content":{"rendered":"
<\/p>\n
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\"Feet<\/p><\/div>\n<\/p><\/div>\n<\/figure><\/div>\n

\n

by James Ammirato<\/p>\n

Upon his release from his contract with Columbia Records, Earl Sweatshirt commented<\/a>: \u201cI\u2019m excited to be free because then I can do riskier shit.\u201d That was nearly a year ago, right after the MC\u2019s third studio album, Some Rap Songs<\/em> dropped. It\u2019s always exciting when an artist acknowledges they\u2019re trying to move in a more experimental direction, but this sentiment from Earl was that much more intriguing. Some Rap Songs <\/em>saw him gliding confidently through uncharted waters, combining elements of South African jazz and off-kilter production to create a masterwork of nuance and detail. The idea that anything after could be \u201criskier,\u201d as he says, was nothing short of baffling. <\/p>\n

If you\u2019re an Earl fan, you know that waiting is part of the elusive rapper\u2019s toolbox. He\u2019s been known to remain completely silent for months at a time, before coming out of the shadows to drop a bomb on his audience as though it were nothing. This time was no different. On October 31, Earl unexpectedly announced<\/a> a new record would be dropping the next day, a 7-track project titled FEET OF CLAY.<\/em> In the announcement was a tracklist with features and the cover, a painting of a sinister-looking goat in a dark jungle, a creature we could only assume was to represent the enigmatic rapper himself.<\/p>\n

What we got was a 15-minute project full of some of the densest music that I\u2019ve ever heard, chorus-less and bleak, described by Earl<\/a> as \u201ca collection of observations and feelings recorded during the death throes of a crumbling empire.\u201d It\u2019s difficult to even call it rap, when the project more closely resembles the ethos of jazz or sound collage, furthering Earl\u2019s nosedive into his rabbit hole and digging into his newfound niche. <\/p>\n

\u201c74\u201d starts the album off running, a one-verse track that finds Earl purposefully undercutting his own ability by making his voice extra groggy. It\u2019s immediately clear he wants the untrained ear to tune his voice out so that those who can appreciate his bars have to truly listen. And if you do, you\u2019re rewarded with lines like \u201cSellin\u2019 kids culture with death, circlin\u2019 like carrion \/ The more the merrier, phone got you livin\u2019 vicarious.\u201d It\u2019s lines like these that show us just how much Earl has matured as a lyricist, not only in terms of the meaning behind his words, but also the flow that he pulls off so effortlessly, and his poetic abilities that grow with every release.<\/p>\n

The beat on \u201cEAST\u201d is like an injured bird, fluttering over and over, never able to get off the ground. Meanwhile, Earl\u2019s bars soar overhead, no regard whatsoever for the backbone he\u2019s laid out for himself. \u201cMy innocence was lost in the East,\u201d Earl croaks, referencing his time living in New York, a transformative period that totally changed Earl\u2019s musical output due to his new friendships with MIKE, Standing on the Corner, and Mach-Hommy. The result was Some Rap Songs<\/em>, a product of redefinition; I can only imagine some of these new tracks were conceived there as well. <\/p>\n

Throughout the record we\u2019re greeted with beautiful samples, like the quiet \u201cpray for the people,\u201d on \u201cMTOMB\u201d and the brittle piano line on \u201cEL TORO COMBO MEAL,\u201d the latter of which features Earl protog\u00e9 Mavi, an up and coming rapper fresh off the release of his debut record, Let The Sun Talk.<\/em> The track starts with a brilliant verse from Mavi, who admittedly sounds quite a bit like Earl, though this doesn\u2019t deter from the song\u2019s dexterity. We might as well be in a wind tunnel the whole time, as the beat is practically pure noise, the piano line faintly peeking out every once in a while. When Earl finally makes an appearance, his vocal processing is practically omniscient, a floating entity, like a voice heard through a TV plagued by static. <\/p>\n

His friendship with rapper Mach-Hommy shines through most clearly on \u201c4N,\u201d the album\u2019s closer and longest track, featuring none other than Mach-Hommy himself. Earl has spoken highly of the elusive underground rapper for the last couple years and contributed beats to his Fete de Morts EP<\/em> back in 2017, which famously cost $111.11 on Bandcamp when it was released. Mach\u2019s style is unique, blending elements of street rap with experimental production, most clearly displayed on his 2019 album with DJ Muggs, Tuez-Les Tous<\/em>. For almost a minute and a half, he dawdles over the beat, with a flow cloudy enough to rival Earl\u2019s, repeating the same four lines that rhyme so well it becomes hard to remember where they begin and end\u2014 it\u2019s times like this we see firsthand where Earl\u2019s most recent influences lie. When Mach finally starts his verse for real, he hits us with lines like \u201cToo much Evanescence wake you up inside with the Wesson,\u201d a sentiment so whimsical it\u2019s hard to understand how it made the record, but it\u2019s Mach\u2019s conviction that really nails the track home. Through his seasoned cadence, his confidence is directly imparted to the listener, to the point where it doesn\u2019t matter what he\u2019s saying, we just want more. <\/p>\n

FEET OF CLAY<\/em> is not an easy listen. The phrase \u201cFeet of Clay\u201d itself is typically a phrase used to describe weakness in a character. Here, Earl is talking about his own feet of clay, his struggles with alcoholism and the overwhelming grief that came after the loss of his father, but in terms of the music, he\u2019s as locked in as ever. The true genius behind Earl\u2019s most recent work is his lack of desire to be famous. This newest project is so dense he can only be attempting to break down his fanbase, built up of kids that knew him from his lines on \u201cHive\u201d and \u201cBurgundy,\u201d and rebuilding it to incorporate fans of experimental music and art rap. He doesn\u2019t want the act of listening to his record to be easy, he wants it to be earned, a privilege for those that have the wherewithal to pay full attention. If someone told me they didn\u2019t like it, I can\u2019t say I\u2019d be surprised. Earl\u2019s evolution is truly one for the books, and it\u2019s easy to assume he\u2019s lost his original flame in a fruitless pursuit of experimentation. But if you\u2019re willing to hear him out, it\u2019s only 15 minutes. <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Upon his release from his contract with Columbia Records, Earl Sweatshirt\u2026<\/p>\n","protected":false},"author":1,"featured_media":1249,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[21],"class_list":["post-1248","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-album-review"],"yoast_head":"\nEarl Sweatshirt Comes Out of Left Field with 'Feet of Clay' - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, follow, 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