Goblin Explicit Lyrics
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STANDARD EDITION : Debut 2011 "proper" solo album from the Odd Future frontman turned hip hop superstar! Includes "Sandwitches" and "Yonkers".
"We don’t f***ing make horrorcore you f***ing idiots. Listen deeper to the music before you put it in a box."
Welcome to the world of Odd Future. They rap, they skate, they offend, and right now the adolescent LA crew of artists and producers can be found adorning magazine covers and tearing up stages to sold-out crowds. What began as bored kids posting mixtapes and albums for free download has spiralled into a tornado of hype, climaxing around the anticipated Armageddon of their leader, Tyler, the Creator’s Goblin release.
But with great hype comes great scrutiny, and Goblin is an album ready to enrage even the most liberal of listeners. Having already earned accusations of homophobia and misogyny on debut album Bastard, Tyler shows no signs of apology, instead fanning the flames he knows will burn his name with a run of shock tactics reminiscent of every past public enemy from Eminem to Marilyn Manson.
Lyrics like "Rape a pregnant b**** and tell my friends I had a threesome" (Tron Cat) leave a mark of open-mouthed stun. It’s difficult to determine whether his tongue is deep into his own cheek, but there’s certainly a knowingness here.
Radicals opens with a disclaimer: "Don’t do anything I say in this song / It’s f***ing fiction / If anything happens don’t f***ing blame me, white America." A pre-emptive strike at the inevitable backlash for a chorus chant of "Kill people, burn s***, f*** school."
There are many arguments for and against Tyler’s mouth and mind, but once the language barrier is crossed and ears become numb, the real brilliance of Goblin can be heard. It’s in Tyler’s flow, his intricate internal rhymes, wordplay, and rhythmically shifting speech patterns. His delivery is musical; playing like a melody against the self-made harsh and stripped back beats and loops, it’s more Why? than Wu.
Goblin is old school for a new generation, a passion-fuelled breath of fresh air from the stale sea of radio friendly, over-produced and clichéd rap. It goes to prove you can’t box in Tyler, because you really don’t know where he’ll go next.
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Another thing that separates Goblin from any of his other albums is that it seems to be the album coloured most by the problems Tyler was facing at the time. Admittedly he was going through a lot. As well as getting used to himself and Odd Future becoming known all over the world pretty much over night, he also had to deal with the negative attention his style of lyricism was gaining, as well as missing Earl Sweatshirt whilst he was in Samoa. On top of all this was problems was he was already experiencing (his father not being there), some of which becoming more amplified with his new worldwide fame (criticism of his music/not being properly recognised).
However, the problems experienced by Tyler lead to some of Goblin’s most lyrically outstanding moments. Whether it be Tyler becoming introspective and getting stuff off his chest (“Nightmare”, “Goblin”, “Golden”, and “Window”) or him just deciding to not give a f*** and to be as provocative and explicit as possible (“Tron Cat”, “Sandwiches”, “Yonkers”), it almost seems the pressure felt by Tyler at the time brought the best out of him. Out of all the songs on Goblin, “Nightmare” and “Tron Cat” standout as the best lyrically, with the former being one of Tyler’s most passionate moments and the latter being one of Tyler’s best lyrical showcases. In fact, to this day, “Nightmare” and “Tron Cat” are arguably two of Tyler’s best songs.
It is not just Tyler’s skills as a rapper that make Goblin a good album, his quality of production is also what makes the album great. Compared to B*s*a*d, Tyler’s production on Goblin is smoother, nicer, and seems more developed and polished. As said before, whereas the production on B*s*a*d was more original and raw, the production on Goblin is of a higher quality all round, and shows the early signs of the amazing production we’d see Tyler exhibit on later albums.
Goblin is not without its flaws though. Firstly, at 73 minutes it is a bit of a task to get through. Considering there are some songs that don’t live up to the quality of the rest of the album (e.g. “Her” and “She”), as well as seeming to have less variety than B*s*a*d, the album could have benefitted from being shorter by a few of tracks.
Secondly, Goblin is a softer, less fierce album than B*s*a*d. Whereas Wolf and Cherry Bomb are not hard or aggressive albums by any stretch they are both very comprehensive and uplifting albums to listen to. In comparison, Goblin is so subdued in negativity that after a while it becomes quite a glum and, in some ways, dysphoric album to listen to.
But all flaws aside, Goblin is a great, underrated album and one that should definitely be given more praise. Goblin sees Tyler at his most vulnerable, and as a result his most introspective and personal. Whereas there are points we get Tyler, The Rapper or Tyler, The Comedian, for a majority of the album we get Tyler, The Person. And ultimately this is Goblin’s saving grace, for practically the only time in his career we see Tyler not coping well with the world around him and deciding to channel that angst into what turns out to be a great album.
My personal fav tracks are: Her, Analog, Goblin, Fish, Nightmare and Tron Cat.
Aside from the blatant lines to cause a reaction their is some lyrical merit here and although he isn't the best spitter some of what he has to say will make you stop and think. For me the biggest problem with the lyrics are that they often decend in to imature rants, hooks like "kill people, burn s**t, f**k school" really sound childish to me. It's hard to empathise with this when you have been out of mainstream education for over 10 years, that's not Tyler's fault but if you past your teeen years its worth noting.
The production is generally quite nice and fairly original. It's certainly not mainstream in sound and is stripped back sampling with heavy dreams and eerie effect, similar to a lot of music from the label Anticon What I really like about the beats is the basslines which don't seem to find they're way in to hip hop as much these days.
My final point is about Tyler's whole alterego concept that run's through the album like Brighton in a stick of rock. It's a really played out concept having been done by, Eminem, Kool Keith, MF DOOM, RZA etc etc. Tyler doesn't bring anything new to the idea either so it's best left alone.
To sum up it's not for everyone and I would strongly suggest listening to some tracks on youtube before buying. The sheer variation in reviews on here should be a good indication of how split opinion is. If you do go on to youtube bare in mind that Yonkers and Sandwitches are the 2 best tunes so don't be fooled in to thinking that the whole album is as good as these songs!
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