The Weekly Coos

In 2023, it was quite a surprise to see Earl Sweatshirt and The Alchemist take the route of an NFT-Adjacent release for a month before properly releasing through streaming platforms. But I’m not one to harp on release decisions unless it’s shifting the meaning of a mixtape as Drake did by selling one; however, it’s a nuisance as fans are usually hungry for new Earl music, but with what typically amounts to an EP length of music, it isn’t something one should seemingly rush to sign up and listen, but it’s actually pretty good. Despite being long-awaited since The Alchemist teased a hidden album on YouTube back in May of 2021, and whether or not it got found, the two have seemingly dropped the album on the Gala Music website, much to the chagrin of fans who can eagerly wait for a proper Digital Streaming Platform (DSP) release. Earl Sweatshirt has rarely cared for the limelight and spotlight, and as such, has consistently released music that has been true to form for him; unfortunately, Earl barely shifts out of his comfort zone, as he’s delivering more of the same with solid beats; however, you might leave disappointed. 

Lyrical astuteness and hardened, cold flows are usually a given with Earl Sweatshirt. It has been that way since his self-titled debut, Earl. It continues with Voire Dire, being modestly memorable enough to retain replay value from the diverging lyrics that relay a more extensive picture through poetic storytelling and smooth cadences to his flow. It makes the experience of listening to the music much more rewarding, especially if one prefers this hypnotic sense of being and telling instead of making you feel and relish with adjudicated catchiness. Earl Sweatshirt keeps it rugged and multi-dimensional while leaving you slightly breathless as you take the time to pause and dig into what Earl is rapping about. Whether he’s reflecting on depression and history with his family on “Free the Ruler” or reflecting on and appreciating the little things along the way to his own ascension in the genre. It’s translucent in how Earl’s cadences maneuver you through all eleven tracks with ferocity, keeping it real, as always, and showing internal growth with themes he reflects, like depression, complications with relationships, and poverty in newfound reflections over some Jazzy-Soulful-influenced production from The Alchemist.

Vocal samples get heavily incorporated by The Alchemist to bolster its themes but also expand the narratives Earl Sweatshirt directs like that of Kush Groove used to reflect his ascension in the outro to “Mac Deuce;” it’s a cheeky nod to his persona, style, and how he fits within the bigger picture. Voire Dire is melancholic at times, keeping the progression between tracks mostly steady and smooth; however, when it comes down to it, the middle sector comes and goes quickly, rarely letting a song breathe between “My Brother, My Wind” and “Sirius Black,” as Earl’s structure gets complacent in getting the most of a production. I felt similar with Ashnikko’s debut, mainly because of its pacing and the swiftness of certain songs that left me unfulfilled, feeling as if more could have gotten done to make lengthier compositions. Like Earl, we have these bursts filled with emotions and in-depth lyrics that offer a glimpse at each artist’s respective artistry; for Earl, it’s about laying down a statement through his words instead of hitting the hammer hard with more unabashed popular nuance. From here, you hear the seamless synergy between Earl and The Alchemist, which is no surprise considering their track record, though it’s modestly more pronounced with Voire Dire.

Though all of this is great and has a lasting impact like other Earl Sweatshirt albums, it doesn’t have beats that are more unselfish to his art, even when his reflections are altruistic. It’s as if he doesn’t push himself to transcend beyond a comfort zone, thus leading to these more monolithic constructs that take you back to the underground backpack flair in Hip-Hop. From the lyrics to the production, it’s like burrowing into the past and relishing in the modern nuances of its style and flow, but after many years, it feels time for a change. These beats aren’t too similar to past ones, as we’ve heard similar rhythms on previous albums – most of the production, from Doris to Feet Of Clay, have at least had more to them than melancholic jazziness that can tread bleaker territory while feeling fresh and climactic; here, it leaves you dangling, through varying sounds, some of which is too similar. Fortunately, this is more of a nitpick that leads to slight disappointment, primarily because you want to see growth beyond the lyrical front. But that disappointment didn’t push me away from the album, as I kept returning, wanting more like the wicked electric guitar strums on “27 Braids.”

There are exceptional highlights that highlight the brilliance the two bring when working together, though the caveats I have, where songs are good while also not hitting to their fullest, hinder what could be another potential addition to the discography. It’s elusive, considering, lyrically, since you’re often perplexed about whether or not a track has passed by you due to the slight homogenization of the beats and flows. However, I did enjoy this and found quite a bit to take from Voire Dire, but the lingering issues make it harder for me to latch on to and grip firmly to the quality given from beginning to end. Give it a spin; there is enough to reflect on, but I’d rather return to other Earl albums before this one.