Divisive LA crew Odd Future has been the rap story of the year; even New Yorker subscribers not necessarily known for their horror-core affinity have heard a thing or two about them. I’m in the camp that contends their glib shock-rap—especially that of leader Tyler, The Creator—goes absolutely nowhere. The exception is singer-in-residence Frank Ocean, whose voice will be familiar to anyone who’s heard Watch the Throne, and whose brainy brand of R&B is by far the greatest thing Odd Future hath wrought.
Frank Ocean: Nostalgia, Ultra
What this guy understands that his Odd Future cronies don’t is that real candor is more exciting than any blatant attempt to shock. It’s usually more shocking, too. “They say you can’t miss something you ain’t had/Well I can/I’m sad,” he says of the father he never knew and the grandfather he met once. If those words look flat on your screen, trust that they’ve got plenty of dimension when Ocean sings them. They’re also awfully soft for a guy whose key affiliation is with a gang of rape-and-pillagers. Other highlights on this debut mix tape include Ocean’s improvement of Coldplay and Eagles songs you’ll recognize, one about a lost weekend with a future dentist/current porn star that Ocean likens more to Novocaine than ecstasy, and another detailing his frustrations with the girls who turn off his copy of Kid A (“What is a Radiohead, anyway?”) in favor of Drake and Trey Songz, both of whose “songs for women,”Ocean is chagrinned to discover, said women prefer to his own. If all the above doesn’t make you want to know Ocean a little better, you’re aware of more innovative modern R&B than I am. He’s such a breath of fresh air that you wish he didn’t under-stay his welcome. Things end abruptly with his fantastic reworking of MGMT’s “Electric Feel,” effectively reminding us that this is a mix tape, not an album. Other artists have blurred that distinction. Ocean nearly obliterates it. A-
Tyler, the Creator: Goblin
The problem isn’t—as many have asserted—that this 20-year-old Odd Future ringleader is socially irresponsible; it’s that he’s boring. Tyler rapes and stabs his way through a coma-inducing 15 songs in 75minutes, the scope of his vision summarized thus: “kill people, burn shit, fuck school.” Forgive me if I like my rebel yells just a little more interesting than that. His “Random Disclaimer,” along with his introductory declaration that he is not a role model, along with pretty much everything he does, clearly evokes early Eminem, but this is closer in spirit to Relapse than The Marshall Mathers LP. Speaking of that one, wasn’t the whole point of Slim Shady raping his own mother even though they gave him the Rolling Stone cover—a near rhyme funnier and more shocking than anything here—to render moot the dull gross-out fantasies of dweebs like this? “Her,” in which Tyler discovers that even goblins can get stuck in the friend zone, comes as a relief not so much because it gives the goblin himself some depth, but because he leaves the ‘her’ in question unmolested for a change. “I’m fuckin’ radical! I’m motherfuckin’ radical!” he shouts at us, as if shouting alone made it so. C