It’s the artistic equivalent of throwing up a brick from the three-point line and goofily claiming, “I meant to miss.” ( Via)Īnd Pitchfork’s infamous 1.6 smackdown of Gambino’s last album, Camp.
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So, this reveal, that everything has been in character, doesn’t make the immaturity of the music acceptable. Indeed, if Because the Internet was your introduction to rap music, it would probably be fascinating. Here, in reality, Glover is acting like he never grew up as well, offering up some of the least mature writing choices imaginable, featuring tricks that only impress the easily impressed. At the end of Camp, the album ends with this story about The Boy never growing up, remaining the child on the bus forever. The script that accompanies this album is not half-baked, but it does oscillate between eye-roll inducing cliches and aggravating modern flares like using “smh” in a sentence that isn’t dialogue, or having Rick Ross play The Boy’s father, or even fucking naming a character “The Boy.” And, that’s only the first couple of pages. We know Gambino can write decently after all, people seem to like his episodes of 30 Rock. Here’s one from Consequence of Sound’s Philip Cosores.īut, for Gambino, there is only emptiness, and isolation, and really poor artistic decisions.
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The reviews have been generally positive-ish (65/100 on Metacritic), but the hit jobs have hit hard. Yesterday, Gambino released his second studio album, the aptly titled Because the Internet, as well as an accompanying screenplay that lines up with the record, like watching Oz the Great and Powerful while listening to Dark Side on the Moon. Which one is it, huh? Are you glad or grave? Childish Gambino, there, with his serious (angry?) face on. But the second GIF, oh, that one makes you mad. If you’re 95% of the Internet, the first one makes you happy, the kind of happiness that can only be equaled if you’re eating a giant cookie.