<p><span><span>- It's been almost twelve months since I gushed about <em>Some Rap Songs</em>, Earl Sweatshirt's third studio album and twenty-five minute meditation on mortal grief. At the time I praised Earl's collaboration with artists from the New York underground, shaping his sound with the likes of <strong>Standing On the Corner</strong> and <strong>Ad</strong><strong>é </strong><strong>Hakim</strong>. In spite of its brevity, <em>SRS </em>remains a shrouded quandary, one brimming with effortless prophecies waiting to be unpacked for years to come. In the wake of this abstract classic came Earl's return to independence, severing a six year partnership with <strong>Columbia Records</strong> to "Do riskier shit". </span></span></p>
<p><span><span><em>Feet Of Clay </em>is a seven track sample of this new direction and Earl doesn't seem to be coming up for air any time soon. Its title based on a Biblical tale foretelling the end of empires, Sweatshirt paints a grim and complex picture of our uncertain society. Opener <em>74 </em>comes bursting out the gate with a burdened beat crumbling under its own weight and hypnotic flows demanding close attention. </span></span></p>
<p><span><span><em>"Sellin' kids culture with death, circlin' like carrion / The more the merrier, phone got you livin' vicarious / Ice melting 'cause it's so hot/ The veil lifts, the pain salient."</em></span></span></p>
<p><span><span>Deteriorating song structures make extracting quotes from their original context a difficult task as Earl's serpentine train of thought integrates each line into a larger whole. It's a trait shared by some of hip-hop's greatest lyricists, unique ideas coalesce to reinforce the MC's character. Even if you're rarely left with a clear picture, each line carries enough weight to make its emotional mark. </span></span></p>
<p><span><span>Consistency is key here given most tracks barely reach the two minute mark. Earl has trimmed so much fat off his music I'm worried it might be malnourished: taut skin stretched across the bones of pseudo-philosophic musings and pessimistic comparisons. <em>EAST</em> exemplifies 'less is more' with its three second sample of Arabic strings looped ad-infinitum. Earl's delivery matches this off-kilter tone with lackadaisical bars tackling the loss of those close to him. I was initially thrown off by this contrast but further listening reveals <em>EAST </em>as one of the young MC's finest lyrical moments.</span></span></p>
<p><span><span><em>"The wind whispered to me, "Ain't it hard?"/ I wait to be the light shimmering from a star /</em></span></span></p>
<p><span><span><em>Cognitive dissonance shattered and the necessary venom restored / As if it matters if you think it matters anymore.”</em></span></span></p>
<p><span><span>It's followed by the somber <em>MTOMB</em>, flipping legendary percussionist <strong>James Mtume</strong> into a soulful reflection. I'm inclined to believe these beats are self-produced, given Earl's increased creative control over his music. They're a less consistent batch than on <em>SRS</em>, but still a perfect fit for what Sweaty is trying to accomplish. The EP's latter half brings an unexpected dose of positivity, grabbing cuts from heartfelt sung melodies and upbeat instrumental numbers.</span></span></p>
<p><span><span>NY protegé <strong>Mavi </strong>features on <em>EL TORO COMBO MEAL</em> and does his best to match Sweatshirt's standards. Both verses are brutally honest yet I couldn't get past his derivative style. <strong>Mach-Hommy </strong>is a welcome switch-up on nearly five minute closer <em>4N</em>, a marathon length in Earl's timeline. It's largely instrumental but I love the production so much the repetitive beat wasn't an issue. Mach brings an unusually gritty performance that pairs wonderfully with Earl, ending things on an uncertain note. </span></span></p>
<p><span><span>There's no doubt Earl Sweatshirt has come into his own as a once-in-a generation writer, delving deeper into New York's hypnoagogic sound to find a powerful voice. I find it near-impossible to fault his performances despite the intentional obfuscation that puts so many off. Next to <em>Some Rap Songs </em>it seems Earl is in a better place, but the themes he's grappling with are as heavy as ever. If you enjoyed the density of his last release, <em>Feet Of Clay </em>is a welcome second helping sure to placate. Most hip-hop listeners however are likely to bounce straight off. Earl's experimental forays have already earned the ire of long-term fans, making them all the more admirable in my eyes.</span></span></p>
<p><span><span>- Boddhi Farmer.</span></span></p>