It is hard to think of a group of young people more abandoned than gay kids with unaccepting parents. OF portray themselves as a gang of misfits that make music for angry and abandoned youth. Odd Future’s constant use of homophobic slurs is also problematic, particularly because, ironically, it trades actual iconoclasm for mainstream appeal. Tyler hits his mark when he convinces his audience that they can somehow relate to his darkness, but songs like these, instead, portray Tyler as a generic sociopath – a character probably too under-developed for even real sociopaths to relate to. The same can be said for “Fish,” a fantastical and perverse, yet still un-inventive, mix of T.M.I.
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As stated about the movie Hannibal, this song somehow manages to be both repugnant and boring. “Transylvania” finds Tyler, overly exaggerating his normally compelling growling baritone, listing the horrible things he wants to do to women. The album really goes off the reigns when the Creator uses his subversion as a thinly veiled excuse for torture porn. Tyler’s bigoted language, in these instances, seems first and foremost a manifestation of this character, and not a advocacy of hatred in any prescriptive sense (though the reactionary nature of this bigoted language is, nonetheless, hypocritical, as will be discussed).
It is in these explorations that Tyler offers himself as a fascinating character, albeit a largely autobiographical one. “She” and, especially, “Her,” the two explicitly romantic tracks, again explore the intersection of loneliness, anger and rebellion. He returns to this structure on the album’s closer, “Golden,” in which Tyler’s anger is much more a desperate wail than a call-to-arms. The beat is an eerily minimalist melody over almost invisible percussion. Rather, they are symptomatic – and, in turn, perpetuating of – his confused and isolated existence. In this instance, his anger and rebellion are not prescriptive. The album’s opener – the title track – finds Tyler engaged in a starkly vulnerable conversation with a therapist. But rallying cries such as “Radicals” only work because they are placed together on “Goblin” with more personal explorations of rebellion. On “Radicals,” he screams the album’s partial-thesis: “kill people, burn shit, fuck school,” explaining that he isn’t saying people should actually go commit crimes, but rather they should just do what they want to do. Sometimes Tyler triumphantly celebrates rebellion. The deeper this exploration is, the more successful “Goblin” is. Rather “Goblin” is, first and foremost, an exploration of iconoclasm. Not that this is terribly ameliorating, but the primary aim of “Goblin” is certainly not to celebrate bigotry. But the question we are asking should not be: does this piece of art employ offensive ideas and language? The proper question is: what is this piece of art celebrating? This is by no means to say that the marketplace of ideas should lack filters. It would seem to miss the point to, for example, dismiss Silence of the Lambs as a depraved romanticizing of violence, as to do so would conflate Lecter’s viewpoints with that of the film itself. There is a difference between “disturbing” and “offensive.” Plenty of great art is disturbing – some of it because it creates characters and imagery that employ repugnant viewpoints and means of expression. That Tyler employs bigoted and venomous language, however, does not necessarily warrant criticism. Tyler’s language is appalling, through and through, on nearly every song, whether the song is violent (“Transylvania”), romantic (“She”), or introspective (“Golden”). Or maybe it’s “bitch.” Or “cunt.” Saying Tyler’s language is jarring, is like saying Manute Bol was tall. They degrade women and gay people constantly.
Tyler and his crew say some pretty fucked up shit, and they say it pretty often. Odd Future Wolf Gang Kill Them All, the California-based rap collective, which Tyler founded and leads, largely made up of kids twenty and younger, has generated a lot of controversy, and rightfully so.
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