Doris

Doris is Earl Sweatshirt's first official album, released in the heat of summer 2013. At the time, I was only 7 years old, far too young to be immersed in the tidal wave that was Odd Future. As the years passed, my musical journey led me first to Tyler, then Frank Ocean, and in the last two years, Earl has become a staple in my rotation. For me, this album captures the very soul of Earl Sweatshirt’s artistry. But enough with the introduction—let’s dive into my thoughts.

The album opens with Pre, a raw and unfiltered introduction to Earl. The track is driven by pounding synths, a slow, deliberate drumbeat, and an old-school, streetwise verse from SK La' Flare. Earl then takes the wheel, delivering clever wordplay laced with an edgy, confrontational energy. While it's a solid opener, I usually skip ahead when I put the album on, starting instead with the next track, Burgundy. Featuring the always-brilliant Vince Staples—who contributes ad-libs rather than verses—his presence is felt through sharp, minimalist input. Over live drums, trumpets, and a piano, Earl’s flow is nothing short of mesmerizing. There’s something about his raspy, deep voice that elevates every line, making even the simplest bars sound profound.

Sunday is where the album starts to really grip me. It’s a near-perfect track. Earl reflects on his struggles with drugs—how they became a bitter necessity in his life. The vulnerability is palpable, and Frank Ocean’s appearance brings a poignant contrast. While Earl is entrenched in his battles, Frank details his journey of leaving drugs behind, revealing how it has positively reshaped his life. The contrast between the two voices adds depth to the track, making it feel like a conversation between two souls at different crossroads. It’s a beautiful and introspective song that sticks with you long after it ends.

Then there’s Hive, a song that easily ranks in my top 20 of all time. The beat is grimy, dark, and oozing with raw energy. Earl flows effortlessly over the eerie production, his cadence like water, fluid and unstoppable. His chemistry with Casey Veggies is undeniable as they exchange lines for a minute, feeding off each other's energy. Then Vince Staples drops in, closing the track with an almost two-minute verse that dives deep into the gritty realities of gun violence and street life. His streetwise wisdom and unapologetic delivery are chilling, making this track nothing short of incredible. Every element of Hive comes together to create a dark masterpiece.

Next is Chum, a song that strikes deep into Earl’s personal life. This track marked my first encounter with Earl’s music, and it remains one of his most profound. He lays bare his feelings about his upbringing, his complex relationship with Odd Future, and his strained connection with his father. Earl's introspection, paired with a haunting piano melody and tight drums, creates a mood that’s both reflective and raw. This song was the gateway to Earl’s discography for me, and it holds an irreplaceable spot in my heart.

Sasquatch interrupts the streak of perfection, though it’s still a solid song. Tyler, the Creator makes his first appearance on the album here, and it’s the old, provocative Tyler that I never quite connected with. Despite this, his verse is entertaining, full of humor and sharp wit. Earl balances it out, keeping the vibe alive while toning down the controversy. There’s a line, “I just nollied a pothole,” that’s oddly captivating—it just fits so seamlessly into the track’s vibe. While it doesn’t reach the same heights as previous tracks, it’s still a worthy addition to the album.

Skipping ahead a bit, Molasses is another standout track, featuring none other than the legendary RZA. The beat has a light, happy-go-lucky feel that contrasts with the gritty lyricism. RZA’s deep voice repeating Earl’s line, “I fuck the freckles off your bitch,” never fails to make me smile. It’s playful yet confident, making it a unique and memorable track.

The album closes on a high note with a strong outro. Domo Genesis, a fellow Odd Future member, delivers one of his best performances to date. Earl opens his verse with the line, “Like to send a shoutout to all the fathers that didn’t raise us,” and it instantly sets the tone for a victory lap, celebrating their success in spite of the odds. The beat, heavy with samples, provides a rich backdrop for their triumphant lyrics, ending the album on a reflective yet victorious note.

I know this review is long, but it’s hard to overstate just how much this album means to me. While it may not be perfect, Doris is drenched in nostalgia and emotion. It’s an album I return to time and time again, not just because of the music but because of how Earl pours his soul into every track. His unfiltered honesty and pure, unbothered nature make this album feel personal, like a conversation with an old friend. For me, that makes Doris almost perfect.

DORIS -EARL SWEATSHIRT

RATING - 9.3/10

GENRE - Rap/Hip-Hop