Among the albums best qualities are the admirable range and variation of his songwriting. The album opener finds him at his most sincere; brandishing the world's deepest growl over a bump and glide beat, he tackles the critical carping that surely awaits him. He drifts in and out of the song, occasionally pausing after a rhyme as if he's waiting for the listener to acknowledge the profundity of his lyrics. The self-allusion to violent lyrics, trying too hard, etc is an effort that hews to the theory that an insult is stripped of its venom if you say it about yourself first. He sounds menacing on "Tron Cat," while riding a beat nasty enough to wrinkle RZA's nose. "Boppin' B-tch" is a comedic gem straight out of the disco era.
The blitzkrieg brio of Goblin is fueled partly by the culmination of aesthetic influences. His style owes its brimming energy to the influence of Eminem and N.E.R.D. The Neptunes influence, which dates back to Odd Future's nascent years, is even more pronounced on the production end. Some songs here utilize the same tingling keys, blaring bass, and piano breaks favored by Pharrell and Chad. "She" is the most obvious homage to this style, but "Tron Cat" and "Golden" also hint at it. Even though you can hear the N.E.R.D. influence, it's still dumb fresh. The beats are made for fat subwoofers. The production splendidly blends a militant approach with novel melodies. "Yonkers," in particular, sounds like a trillion ants marching to war.
Whatever you make of Tyler's lyrics, you can't argue against his talent. Goblin is structurally profound and musically sound. His music, among other social merits, is the soundtrack of nerdy teenagers who want to reclaim a sense of masculinity. African-American expression of masculinity usually arrives in the form of cliches about sex, money, and girls. Tyler has found a different lane.
Sure, there are some weird moments, particularly on "B-tch Suck D-ck" featuring Taco and Jasper. It's either an exhibition of how badly his friends suck at rapping or an indictment of dudes who suck at rapping. Either way, it's a limp piece of detritus left to wither on the side of a major roadkill. Tyler kills them on the track, then kills them on the track. Trust me, it'll make sense when you hear it. Some of the T.C. skits are unintentionally funny, which neuters the grim vibe he's going for. The shtick wears thin after a while. Couldn't he find Prince Paul's email?
Tyler harbors lofty aspirations, no doubt. "They say I try too goddamn hard. No sh-t, I want a Grammy, you damn retard," he barks on the bonus cut "Steak Sauce." He wants to win Grammys and sell out arenas, yet he finds comfort in the stench-filled tracks that make programmers scratch their heads. His main struggle is to reconcile a desire to create a commercially still sound with his quest to push the envelope. With a goal to conquer the climate of mediocrity, Tyler sets his eyes on painting rap's future red. Songs like "Analog," "VCR/Wheels" and "Session" show he's capable of writing for mass audience.
Tyler may be so effective in communicating raw ideas that the spectacle of commercial refinement seems invisible. Zoom in a bit, though, and you'll notice the potential to evolve and join Frank Ocean as Odd Future's commercially viable asset. When he eases up on the throttle to reflect over a date which he narrates in an array of unusual metaphors, he's remarkably convincing.
Lyric for lyric, beat for beat, Tyler, The Creator is one of the best new MCs around. His voice is sturdy down to its asthmatic drone, his instrumentals unwavering in their bass hum, his wealth of imagination deep beyond his age. Much of the material for Goblin was written in Tyler's late teens. He seems to have already matured past this album. Still, this album thoroughly captures a tortured teenager. But don't expect Tyler to keep mining his trouble childhood for hits. A promise to explore other topics ensures that his catalog will evolve awkwardly.
Best Tracks- "Yonkers"
- "Tron Cat"
- "Sandwitches"
- "Analog"
- "Fish/Boppin' B-tch"
