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Rising to the peak of popular consciousness, Tyler utilised Goblin to paint himself as the Perpetual Outsider, alter ego Wolf Haley throwing firebombs and middle fingers at critics, fans, taxonomical labels, and other artists. Tyler’s sophomore studio effort, Goblin, distilled anger into vitriol, a contemptuous classic unfairly compared to Eminem and rightfully compared to Eminem. (This is not to say that they were not juvenile trolling simply that they were more than just that.) The violence, the dick references, the faggots and scalpels, all of it was as addictive as a Brett Easton Ellis novel biting, youthful, graphic, unsettling, irresistible, avant garde paradoxically high grade pulp, and on top of it all was Tyler, Tyler’s voice, all tarantula hairs and dried blood, crawling across those tracks. When combined with the indisputable skills that both Tyler and Earl posses – nimble, distinct flows a variety of timbres and textures, particularly in the case of Tyler – the early works easily surpass whatever attempts one could make to write them off as juvenile trolling.
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Part of it was the way those graphic lines were written, too finely crafted and intelligent to truly be designated “crude”.
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In the beginning, there was a sort of gutter spectacle surrounding the works of Odd Future Wolf Gang Kill Them All Don’t Give A Fuck Litter Life Bacon Boys Loiter Squad Tripp Sixx Crew Golf Wang Free Earl Fucckkkk, with hyper violent bars being spun in hyper lyrical ways literal kids, key among them Tyler, The Creator and Earl Sweatshirt, producing shocking cuts while somehow maintaining just a little something more than shock value an artful, still budding expression of Beautiful Violence, “l’aesthetic pornographique”, as Tom Wolfe would call it.