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I’m so excited to finally listen to this album. I mean, I’ve already heard it before, but still. I remember when I first heard it; I was sitting at the desk in my room at like 2 AM. It was the night before I’d be getting on a plane to visit my family in Trinidad. My favorite track from this album at the time ended up being the soundtrack to that trip. Now every time I listen to the song I feel like I’m in Trinidad again. Sorry. I guess should focus on the whole album rather than that individual song. Anyway, since I was kind of in a rush I only skimmed the album. I deleted the songs that didn’t really stand out to me immediately. Then after a few weeks my files got corrupted somehow, so I could only play most of the songs from the first half. I don’t remember most of these tracks. All I remember is being in love with this album. I never read that script that he wrote for the album, and I probably never will. Reading is for nerds. Nah, but seriously I don’t wanna read a fuckin’ script while listening to this shit. I just don’t feel like it. Actually… You know what? Fuck it. I WILL read the script while listening to this shit. Alright, I’ve got it pulled up now. Click HERE to read the script for this album. It’s written out like a screenplay. Alright, let’s see… Oh… You guys remember that Clapping For The Wrong Reasons short film that Donald uploaded to YouTube before this album dropped? That’s apparently the prelude to this album.
I remember watching it around the same time the album dropped. I watched it earlier today too. I guess it makes things more interesting if you think about it as the prelude for the script. Oh by the way, this album came out on December 10th in 2013. I usually start off reviews by giving y’all the release date, but I forgot to do that here. Trinidad James & Chance The Rapper are both in the Clapping For The Wrong Reasons film by the way. I think that’s pretty much all I have to say before starting the album. Well, actually… Lemme talk about PHAROS a little more. He already premiered the album at Joshua Tree National Park. I’m guessing that the album comes out on September 6th. I think that’s the same day that Donald’s Atlanta TV show is premiering on FX too. Actually, albums only come out on Fridays, so it can’t come out on the 6th ’cause that’s a Tuesday. Maybe it’ll come out on the 9th then. I’m pretty excited for Atlanta tho, and I rarely ever watch TV. I don’t know if I’m gonna review PHAROS tho… Wait, let me explain. I was originally planning to review all of Gambino’s projects except for Kauai ’cause I don’t review R&B. The closest thing y’all will ever have to an R&B review from me is my 808s & Heartbreak review. It’s starting to look like PHAROS is an R&B album. I know. It’s super disappointing. I searched “Childish Gambino” on Twitter yesterday morning to see if anyone tweeted about the concert. Here’s what I found…
“Minimal rapping.” No. NO. NOOOOOO. Fuck, man. Well, aside from that, there were a shit load of people talking about how amazing the concert was. People weren’t supposed to bring their phones, but a couple of ’em snuck them in. They even took videos, but they’ve been removed. What I saw looked insane tho. It ALMOST made me wish I could go, and I don’t even like concerts. Since there’s “minimal rapping” I really don’t know if I’m gonna review it. I hope he does what Frank Ocean did, and drops two albums. Maybe the concert version is an R&B album, and he’ll drop a Hip Hop album a day or two later. Okay, you know what? How about this… If I go to PHAROS in iTunes and it’s categorized as Hip-Hop/Rap, then I’ll review the album. If not, then I’ll… Umm… Well, you know how if you go to the “Marathons” page on this website, you’ll see a list of all the Marathons I’ve done? I usually write my final thoughts on an artist &/or the artist in question’s discography, so if I don’t end up reviewing PHAROS I’ll at least give you my thoughts on it in the Childish Gambino section of the Marathons page. Anyway, I’m gonna go ahead and start this album now. Every song is produced by Childish Gambino.
Track 1: The Library (Intro)
Alright, I’m reading the screenplay right now for the first time. It takes place right after the outro from Camp. He’s getting off the bus from summer camp. That Clapping For The Wrong Reasons film doesn’t really seem to fit in with this story. His father is supposed to be played by Rick Ross. Maybe I should explain the outro of Camp to you guys. It was him talking about how he fell in love with this girl at summer camp. He told her that he loved her on the bus ride back, and she shitted on him. Now he’s getting picked up in his father’s limousine. Okay, this is actually pretty cool. I’m glad I’m reading this shit. He obviously has a really bad, awkward relationship with his dad. This is super relatable. Wow… I just read the first 4 pages. Why am I enjoying this so much? Jesus, I’m such a dork… Lmao. I guess I just read the intro. Once he finally got home, he went to his room, opened up his laptop, and checked his email. His friend sent him a video of a girl blowing a horse. After he watched the video, he went to HotNewHipHop and trolled the users by saying “fuck u niggers” in the comment section of a Rich Homie Quan song. That’s the intro. The rest of the screenplay takes place 15 years later. This track, The Library, is just a 5 second long intro. I don’t really know how to describe the sound. I see some people saying that it’s supposed to sounds like someone flipping through a bunch of pages. I guess that’s the best way to describe it, but that still doesn’t sound right. Whatever. It’s only 5 seconds, so I really shouldn’t be thinking about it this much.
Track 2: I. Crawl (Co-Prod. Christian Rich)
I fucking love this song. First of all, the beat is fucking incredible. The hook is really dope too. I don’t know who those female vocals are coming from, but she did a pretty good job. This production is insane. Oh, the hook is done by a singer named Kai. I wonder why she was uncredited. Gambino’s flow on this shit is phenomenal. He killed both of the verses. There were a good amount of meme references. I don’t have any problems with this song. The hook can get a little annoying after a while, but it’s definitely not bad enough for me to penalize the song. This shit is dope af to me. Alright, lemme get back to this screenplay. Okay, I just read the part before the next track. The main character doesn’t have a name. He’s just referred to as “The Boy.” He and his friends went to the beach and flirted with some girl who was surfing. They invited her to a party at The Boy’s mansion. Did I tell y’all that The Boy is super privileged and rich? I’m pretty sure he’s still depressed tho. We’re never really given a specific reason for his depression. I guess that’s for the reader to interpret. Anyway, the song is dope af. I definitely fuck with this. 5/5
Track 3: II. Worldstar (Co-Prod. Ludwig Göransson)
I think I remember this song being released before the actual album dropped. The beat is really dark. When the song starts you can hear the audio of a fight in the background. I’m sure you all know what WorldStarHipHop is, but if you don’t I’ll inform you. WorldStarHipHop is notorious for glorifying coonery. The only reason it got so popular is because of fight videos. People would upload videos of black people beating the fuck out of each other and acting like animals, and white people would laugh at it.
That’s how WorldStarHipHop became popular. It’s nowhere near as popular now as it was when this album came out, which is probably a good thing. You never really hear people talking about fight videos on WorldStar anymore. Is that even a thing? Do they still have videos like that? Whatever, it doesn’t matter. Gambino’s flow on the first few bars is reminiscent of the average Atlanta-based Trap artist. WorldStar is known for it’s fight videos rather than it’s Hip Hop videos; however, when they DO post Hip Hop videos it’s usually for a generic Trap artist. Donald switches his flow up after the first four bars, and it’s awesome. The first verse was dope af. There are more audio clips of people fighting and chanting “WORLDSTAR” between the first & second verse. He killed the second verse too. “More hits than a fight comp where they fight cops ’til they stop / When I heard shots, watching dude drop from a Glock.” The way the production transforms from a super dark, menacing, hard ass beat to a super smooth, jazzy saxophone driven outro works surprisingly well. This is dope af to me. Okay, I just read the next part of the screenplay. The Boy and his friends go to a club, and there’s a shooting. The Boy records it on his phone while some guy in the background yells “WORLDSTAR.” They end up going to some Jazz concert after the shooting. The Boy notices that there’s a bullet hole in his clothes. Then they go back to The Boy’s mansion, and the boy starts arguing with his friend about how pointless & uninteresting everything they do is. Anyway, this song is dope af. 5/5
Track 4: Dial Up
This is just an instrumental leading up to the next track. It’s very similar to the next song in terms of production. I’m not gonna be rating this as a full song since it’s just a 45 second instrumental interlude, but, for what it’s worth, this is dope af to me. I love how he used the sound of windshield wipers as the percussion. I love it when producers do shit like that. Anyway, not a lot happens between this track and the next one in the screenplay. The Boy is just lying down on his bed, and he has visions of spiders speaking to him. Maybe he’s schizophrenic. Anyway, I really enjoyed this track, but, as I said before, I’m not gonna rate it since it isn’t a full song.
Track 5: I. The Worst Guys Feat. Chance The Rapper (Co-Prod. Ludwig Göransson)
This beat is fucking incredible. I loved the production on the previous track, but it sounds even better in this song. Chance is only on the hook. I kinda wish he had a verse, but it’s not really that big of a deal. This is still a fantastic song. I remember having a lukewarm reaction to the hook when I first heard it. I don’t mind it anymore tho. Chance is just singing “All she needed was some…” over and over again. It’s kind of an underwhelming feature. It doesn’t really hurt the song in any way for me tho. The first verse was dope af. Same goes for the second verse. “I’m out of this world like Tang, nigga / That’s a space bar.” I love this song. I even liked the outro, and y’all know I usually hate electric guitars. It sounds great here tho. I don’t really have anything else to say. It’s just a decent hook and two great verses over a fantastic beat. This is dope af to me. Damn. I just read the next part of the screenplay. He was about to bang the girl from the beach and her racially insensitive white friend, but he couldn’t get it up, so he locked himself in the bathroom. The song is dope af. I love this shit. 5/5
Track 6: II. Shadows (Co-Prod. Thundercat & Ludwig Göransson)
I usually dislike love songs, but this song is fucking awesome to me. Thundercat should’ve won a fucking grammy for this beat because it’s fucking amazing. Seriously, it’s absolutely spectacular. Remember how I said Gambino’s vocals sounded flat on previous projects? Well, that’s not the case anymore. His vocals on the intro of this song sound great. I love his super laid-back, quiet delivery when he’s rapping the verse too. It gets more energetic as the song progresses. The hook is a little sappy lyrically, but it’s so fucking dope sonically that I don’t even really mind it. The way the beat switches up after the hook is awesome, and the fucked up, dark outro is great too. As I said before, I usually don’t like love songs, but when they’re done well enough, I fucking love them. This song is dope af. Okay, I just read the next part of the screenplay. It was kinda confusing. I think he started daydreaming about his ex-girlfriend while he was in the bathroom. When he finally exits the bathroom, the girls are gone. He gets two of his friends that he was with earlier and tells them that they’re going on a road trip to Oakland. I’m not really sure why. Anyway, this song is awesome. Seriously Thundercat put his ass into that beat. 5/5
Track 7: III. Telegraph Ave. (“Oakland” by Lloyd) [Co-Prod. Ludwig Göransson]
This is one of the songs that I either didn’t like the first time I heard it or got corrupted. I don’t remember hearing it. Huh. That’s interesting. I thought Oakland was an old song by Lloyd that Gambino decided to cover or interpolate, but it was apparently made from scratch just for this album. At the beginning you hear Donald getting into his car and turning the radio on. Oakland is the song that plays on the radio. It eventually transitions into Gambino’s full version of the song. This is just a straight up R&B track. I don’t know if I’m gonna like this. The beat is dope af tho. Hmm… Do I like this song? I definitely don’t think it’s bad. It’s just a little too Popish for me tho. I don’t know. I liked the beat, and Donald’s flow when he started rapping at the end was great, but I don’t think I’d wanna listen to this again. It sounds like… Well… It sounds like a Lloyd song. Alright I just read the next part of the screenplay. Donald goes to Oakland to see his ex-girlfriend, and she shits on him. This song didn’t really do anything for me. I liked the production, and the verse where Donald rapped. I just wasn’t really… The song was just too Popish for me. I’m not really a Lloyd fan… It’s a decent song tho. I think it’s well done. I just won’t be coming back to it personally. 3/5
Track 8: IV. Sweatpants (Co-Prod. Ludwig Göransson)
This is one of Childish Gambino’s most popular songs. The beat is dope, and Donald flowed perfectly over it. This whole song is just bursting with charisma. The first verse is dope af. For the hook he got an uncredited feature from Problem. “Don’t be mad ’cause I’m doing me better than you doing you.” I don’t know if Problem actually recorded that line specifically for this song, or if Donald just sampled it from a different song that Problem was on. You can hear Problem’s ad-libs throughout this whole song tho. Gambino fuckin’ killed that last verse too. Hmm… Is this song dope af or just dope? I remember really loving it when it first came out, but I kinda played it out… I really still do think that it’s a great song, but I personally don’t enjoy it as much as I did at first because I played it so many damn times. Fuck it. This shit is dope af. I still think it’s a great song even if I don’t enjoy it as much as I used to. It’s better than a lot of other songs that I’ve called “dope af.” Alright, back to the screenplay. I don’t really remember exactly how it happened, but they somehow ended up at a wedding with a bunch of Indian people. The Boy’s talking to a lot of the people there about how he doesn’t believe in marriage. One of the groom’s friends just delivered a speech. Anyway, I really fuck with this song. The hook is catchy af, the beat is great, and Donald killed the verses. This is dope af. 5/5
Track 9: V. 3005 (Co-Prod. Ludwig Göransson & Stefan Ponce)
I’m pretty sure this is Gambino’s most successful single ever. That’s really just an assumption; the super accessible, sugary love songs are usually the most successful singles tho. The beat is dope. The hook is really sappy, but it works I guess. I’m just gonna tell y’all right now; I don’t really like this song. It’s not really bad, but nah. I don’t like love songs unless they’re super well done. I love Shadows, and I even liked Heartbeat. This song just doesn’t really do anything for me, especially in comparison with the other songs here. The beat’s cool. The first verse was alright. This line was really corny tho; “Got no patience ’cause I’m not a doctor / Girl, why is you lyin’? Girl, why you Mufasa?” The hook always seemed kind of underwritten to me. The way he just keeps repeating “hold up” really leaves something to be desired. I think the production on this track is fantastic, and the second verse was pretty dope. I just don’t see myself coming back to this. I don’t think it’s bad. It’s just not for me. It’s cool tho. Anyway, I just read the next part of the screenplay. Shit got supernatural. A bunch of aliens came out marching and had some sort of performance for the wedding. That’s pretty much all that happens before the next track. 3/5
Track 10: Playing Around Before The Party Starts (Prod. Ludwig Göransson)
Alright, this song is another instrumental interlude that leads into the next track, kinda like Dial Up. It’s just the sound of The Boy playing the piano while everyone else is enjoying the party at his mansion. It sounds pretty familiar. It sounds like he’s playing Hold You Down from Camp. The next part of the screenplay just describes the condition of The Boy’s mansion as he’s playing the piano. The people that used to clean his house stopped coming since they weren’t getting paid anymore. The mansion is a mess. I guess the party’s about to start now.
Track 11: I. The Party (Co-Prod. Ludwig Göransson & Pop Levi)
This is probably my second favorite song on the album. I love the super dark, claustrophobic production. I also love the way this song builds up to the verse. I don’t know who the fuck those vocals belong to on the intro, but whoever it was did a fantastic job. The intro actually takes up about 75% of the song, which sounds like a bad thing, but it’s actually a super rewarding listen. Once you make it all the way through the hook, you get to one of the greatest verses on the album. It’s basically just him trying to enjoy the party. Eventually he gets pissed the fuck off and kicks everyone the fuck out. His flow is absolutely insane on this shit tho. I love this shit. This is dope af. The screenplay basically just describes what happened in the song, but in more detail. He started smashing shit in his mansion and told everyone to get the motherfuck out. Anyway, this song is fucking awesome. 5/5
Track 12: II. No Exit (Co-Prod. Ludwig Göransson)
This is the song I was talking about in the preamble to this review. This was my favorite song from the album when I first heard it, and it was the soundtrack to my vacation in Trinidad when I was in the 9th grade. The only other song that I played a lot the last time I was in Trinidad was the God Lives Through remix by A Tribe Called Quest & Busta Rhymes. The production on this track is absolutely fucking incredible. It’s even more claustrophobic and nightmarish than the beat on the previous track. There’s an uncredited hook from Miguel on this song. It’s awesome. I love the way the beat drops right after Gambino says “CAN’T SLEEP.” I love the distorted layer of vocals that come in towards the end of the first verse. It sounds like The Boy is going insane at this point. Miguel’s vocals are really light, but they did a really fantastic job of integrating it with this heavy production. The second verse was dope af. I love the distorted laugh that comes in towards the end. The song is fucking incredible to me. I just read the next part of the screenplay. He notices a brown recluse spider in the corner of his room and it starts pissing him off. He leaves his house and drives around for a little bit. When he comes back he notices that the brown recluse is gone and starts missing it. Just like with the previous part, it’s pretty much just a recap of what happened in the song. This shit is absolutely dope af. 5/5
Track 13: Death By Numbers
Okay, now we’re starting to get to the songs that I don’t remember at all. This track in particular is another instrumental interlude that transitions into the next track. There are some light background vocals from Gambino, but most of the lyrics are unintelligible. Nothing happens between this track and the next one in the screenplay, so I’m just gonna move on. I did enjoy this track tho.
Track 14: I. Flight Of The Navigator (Co-Prod. Ludwig Göransson)
Alright here we go. I don’t remember this song at all. Oh shitfuck… This beat is fucking fantastic. To me it kinda sounds like a dreamier version of the Shadows beat. Oh… I think this is just an R&B song. That’s fine I guess. I just hope the rest of this album is still Hip Hop. Donald’s singing voice has improved a lot. The first verse is fantastic. This is really fucking dope sonically. I don’t even really like guitars most of the time, but this beat is fucking amazing. I think it’s because it’s an acoustic guitar. I only really dislike electric guitars. This is fucking incredible. I don’t even really listen to R&B that much, but this shit is really mind blowing. This is probably the best R&B song I’ve heard all year. I love this shit. It’s dope af. Alright, I’m reading the next part of the screenplay now. He’s waking up in a hospital ’cause he tried to kill himself. When he got out the hospital his friends were waiting for him. They told him that his dad died. He was like “Alright, cool. Let’s go to Chipotle.” Anyway, I actually REALLY like this song. This is dope af to me. 5/5
Track 15: II. Zealots Of Stockholm (Free Information) [Co-Prod. Ludwig Göransson & Sam Spiegel]
This is another song that I don’t remember at all. It’s starting now. Donald’s singing on the intro right now. “You’re a good son.“
Woah… The beat is switching up right now. It just got a LOT more energetic. Damn. This shit is fucking awesome. This beat is dope af. I really did NOT see this coming. He’s rapping now. His flow is awesome on this shit. This kinda sounds like something Kanye West would produce. There are a lot of electronic elements in this beat. There’s an uncredited feature from Kilo Kish on the hook. She did a good job. What the fuck? The beat just switched up AGAIN. This is crazy. The final verse was great. Wow. This is a really dope song. I love how dynamic the production is. The way the slow intro transitions into the fast paced second part of the song is crazy. This is another fantastic song. How did I not remember this track? It’s dope af. Alright, I just read the next part of the screenplay. He went to Stockholm to get his dead father’s ashes. He DM’d some random female acquaintance that he knew on Twitter, and they met up at a bar. He met her ’cause he didn’t wanna be alone, and she was the only person he knew in Stockholm. They went back to his hotel room. While he was in the bathroom the girl stole the urn in which his father’s ashes were being held. Weird. Well, as I said before, this song is dope af. 5/5
Track 16: III. Urn (Co-Prod. Ludwig Göransson)
This sounds like it’s gonna be another R&B track. The beat is really chill. Not in a boring way tho. I just listened to the whole song. It’s good. I’m not blown away by it, but I enjoyed it. It’s just a really smooth R&B track. It’s just over a minute long. Is this supposed to be an interlude? Nah. Nah, this is a song. I just don’t really have much to say about. It’s only one verse. I enjoyed it tho. This is dope. 4/5
Track 17: I. Pink Toes Feat. Jhené Aiko (Co-Prod. Ludwig Göransson & Stefan Ponce)
Oh shit, I forgot to talk about what happened in the screenplay. Okay, I’ll just tell you before I start this song. So, the girl, Alyssa, tells The Boy that he’ll feel better if he gets rid of the ashes. I think they dumped it into a fountain or something. I’m not sure what they did with it. The point is they got rid of Rick Ross’ ashes. After that, Alyssa’s boyfriend comes outta nowhere and is like “Don’t pork my girl.” Then The Boy leaves. I think he ended up in an airport with one of his friends. I guess his friends went with him to Stockholm. There are some girls there, including Naomi. Naomi was a girl whose phone The Boy almost smashed during The Party. She asks how The Boy’s dad made so much money, which he doesn’t know. Then she asks how he’s gonna make money, and he tells her that he’s gonna sell drugs. Then they keep talking about a bunch of random shit that I don’t care about. Anyway, I’m gonna go ahead and start this song now. This beat is really dope. Donald’s singing the hook. This is kinda… Uh… I don’t know how to say this. It almost sounds too happy. He’s literally singing about rainbows & sunshine. I feel like I don’t mind it as much as I should tho. Something like this would normally be a huge turn off for me, but I’m actually really enjoying this. Alright, the first verse is starting. He’s rapping. It sounds like he’s falling in love with Naomi or something. The first verse was cool. Woah… Jhené’s vocals sounded immaculate on the second verse. Damn. This is really dope. Okay, I’m reading the next part of the screenplay. Yup, I was right. Naomi & The Boy are falling in love. What the fuck… I feel like the story just fast forwarded a few years. It seems like him & Naomi are living together now. He usually has other people deliver the drugs for him, but nobody could do it this time, so he’s doing it himself. Once he pulls up to the spot, four guys pull out guns and point it at him. Is he really about to end the story like this? Is he really just gonna get shot? Whatever. We’ll see what happens. This song is dope af. 5/5
Track 18: II. Earth: The Oldest Computer (The Last Night) Feat. Azealia Banks [Co-Prod. Ludwig Göransson]
…Azealia Banks? He got Azealia Banks on his album? I mean, I guess that’s not necessarily a bad thing. I’ve never actually heard any of her music. I only know who she is because she’s a fucking idiot. Maybe she’s actually good tho. The first verse was really dope. Azealia Banks is just singing the hook. I doubt she’ll have a verse on this. She sounds pretty good tho. The second verse was awesome. This is a really fast paced, Electronic sounding song. Sonically, it kinda reminds me of Stronger by Kanye West. I don’t really know why. This is REALLY dope. What the fuck? This outro is crazy. What the fuck is happening? Wow. It just ended. That was insane. I didn’t like it. Lmao. Nah. I don’t really like this one. I mean, I KINDA do, but not really. The production was really dope at first, but the song just started sounding like EDM at one point. I wasn’t really feelin’ the melody of the hook either. The outro was way too chaotic for me too. It’s a decent song. I enjoyed the verses. I wasn’t feelin’ this as a whole tho. It’s alright. What the fuck… Okay, I just read the rest of the screenplay. The Boy and the four guys with guns are at his mansion now. They’re cops. The Boy thinks he’s gonna go to jail. Everyone except The Boy & one of the cops leaves. Then there’s a loud bang. One of the guys runs back into the room and kills the cop that stayed. Then he shoots The Boy. Now I’m supposed to play the next track, and that’ll be the end of the story. I wasn’t really feelin’ this song personally, but I think it’s decent. 3/5
Track 19: III. Life: The Biggest Troll (Andrew Auernheimer) [Co-Prod. Ludwig Göransson]
This is one of the few songs that I actually remember that got corrupted. I already know it’s dope af. It’s starting now. Alright, this beat is fucking incredible. This is definitely one of the best songs on the album. The first verse was dope, but the second verse is amazing. He spits like a million bars. I mean, he doesn’t literally spit a million bars, but it’s a long ass verse, and he fucking killed it. I love the hook too. It’s really simple, but it sounds great over this beat. The outro of this song is pretty creepy. It ends with some repeating, pitch shifted vocals that I couldn’t really understand, and then a slightly altered version of The Library plays. That’s how the song ends. It sounds really creepy. It’s awesome tho. This is one of my favorite tracks from the album. It’s dope af. 5/5
This album is fucking amazing to me. I love the experimental production. There aren’t any other albums that sound like this. That along with the 73 page screenplay makes this one of the most unique albums I’ve ever heard. It’s clear at this point that the actual music on this album is fantastic to me. Let’s talk about the actual concept behind the screenplay tho. I think it’s obvious that Donald was trying to provide a commentary on the way people interact with each other in the internet age. The reason The Boy felt so alone throughout the story was because he didn’t feel like he had any real connections with people. He grew up as an internet troll. The answer to the most obvious question one would have from reading the screenplay—”why the fuck is he so depressed?“—is “Because The Internet.” He’s depressed because the internet took away his ability to actually connect with other people. He grew up alone with his father, whom he never had a good relationship with in the first place. I guess if your only interactions with other people for the majority of your life are through trolling them on the internet, you’re probably gonna be in a pretty shitty mood for most of your life. The way the story ends feels kind of underwhelming, but I think that’s the point. Towards the end of the story, Donald talks about how your last day of life never feels like the last day. You never know the end is coming. The screenplay is the same exact way. It doesn’t feel like it should end the way it does. It feels too abrupt. I guess that’s what being murdered is like. The ending of the screenplay felt like being murdered. I’ll let you decide whether or not that’s a good thing. I love this album tho. This is definitely my favorite Childish Gambino album. I think it’s his best work, and honestly I don’t think he can top this. I REALLY love this album. This shit is fucking amazing to me. It’s dope af.
Favorite Song: Flight Of The Navigator
Least Favorite Song: Telegraph Ave.
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I love thematic inspired albums, what I like most is this album is what should have been the Man On The Moon albums. Reason being is we had no clear characters except for Kid Cudi himself and from a storytelling perspective it’s not a quite a good idea, but here we have characters an overarching theme and a clear cut ending. It’s living art.
I really enjoyed this project, Donald is one of the few modern emcees I can champion.
Great job kid