It was pretty much the perfect way to start this album. Not that much tho… Anyway, I fucking love this song. Again, it’s just a nitpick, but it kinda bothered me a little bit. This album is supposed to be the second session, but this intro made it seem like it’d been a lot longer than one day. He says “ it’s been a while since our last session,” but in Bastard he said the three sessions would take place over three consecutive days. What you need is me, someone to talk to. Uh, it’s been a while since our last session, so tell me what’s been going on.” Okay, I know this is a nitpick, but I just wanna point out a tiny gripe I had with this intro. You don’t even have the balls to begin with. TC saying “ You wouldn’t do that Tyler… Kill yourself, or anyone. He implied that he wanted to kill himself at the end of Bastard, so this track starts off with Dr. So, this track pretty much picks up right where Inglorious left off.
Every song is self produced, except where noted. Hopefully the concept is a little more focused on this one. I already know it contains some of my favorite songs from Tyler. I’m definitely expecting to like this project more than Bastard. I’ve never listened to it in it’s entirety, but I remember liking what I heard. I was just getting into Hip Hop around this time, so I didn’t really know enough about the genre to understand why people were underwhelmed. Odd Future fans are… Well… I think this picture speaks for itself…Īnyway, if I’m not mistaken, a fairly sizable portion of the Hip Hop community seemed to be disappointed with this project. Okay, where do I begin with this project… Well, following the success of Bastard, there was an absurd level of anticipation leading up to the release of this LP. In 2018, the man himself claimed that he’d only keep seven of the record’s fifteen tracks, but to revise ‘GOBLIN’ retrospectively would be to do a disservice to its spirit - it remains a messy, discomfiting monument to mainstream subversion.This album was released on May 10th in 2011. It’s astonishing, now, to think that a rapper hailed as a queer icon for his insights on ‘Flower Boy’ and ‘Igor’ was once brushing off justified criticism from the likes of Tegan and Sara with the same homophobic slurs on social media that ‘GOBLIN’ itself is littered with. His lyricism on ‘GOBLIN’ remains a blend of cattle-prod provocation, flirtations with horrorcore, and a genuinely unsettling appetite for the macabre. By the time Tyler chips in with his own, the track’s quietly taken on a nightmarish air. Frank Ocean, now THE pop enigma of his generation, makes a memorable contribution on ‘She’, his mellow vocals blended with a woozy beat that threatens to veer off the rails at any given minute, while the star-studded ‘Window’ does so much with so little, taking a basic but thickly atmospheric synth loop and using it as a backdrop over which Domo Genesis, Hodgy Beats and Mike G queue up to deliver softly sinister verses. The record’s a stark reminder, too, of just how much talent existed in the Odd Future pool at the time. There’s also the creeping sense, however, that early-career Tyler leaned unnecessarily heavily into shock-tactic lyricism, with the dark dioramas he draws on ‘GOBLIN’ routinely unsettling you wonder how much of it he would get away with today. There are moments of towering innovation across the record - the manner in which raw minimalism meets slick production on ‘Yonkers’ and ‘AU79’, for instance, or the swirling meeting of menace and beauty that came to characterise so many of the album’s instrumentals. By the time the rapper’s solo debut dropped, ‘GOBLIN’ served as the culmination of one of the most thrilling upendings of the musical rulebook in recent history, and one that excited and frustrated in equal measure - as much now as it did then. Even at ten years’ distance, the nature of Odd Future’s 2011 gatecrashing of the mainstream still feels like a fever dream nobody since has staged quite such a hostile takeover, with everything from Tyler’s stripped-back and shocking ‘Yonkers’ video to his performance of ‘Sandwitches’ on Jimmy Fallon with Hodgy Beats, scored through with a thrilling sense of unpredictability.
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