Unfortunately, as the play begins to lurch with purpose the album resolves to allow the screenplay to do the heavy lifting. Worldstar” begins as a blippy trap number and takes a hard left on a found-sound fight sequence before landing on a psychedelic chamber jazz coda all because of a club night gone wrong in the play’s first act. If you’re fleet enough of a reader, the sequential song prompts in the screenplay reveal the album to be less of a stand-alone release than the full-fledged audio component to a daring multi-platform media project whose audio and literary wings collude to complement and even explain each other.
The 2012 follow-up mixtape Royalty tried to recover by calling in buddies from Black Hippy, Wu-Tang Clan, and more to boost Gambino’s hip-hop cred, but he ended up getting creamed every step of the way by his more talented friends. It spent more time thumbing its nose at the backpackers, racists, and dismissive women that gouged out the massive chip on Glover’s shoulder than it did, you know, trying to be a good rap album. Gambino seemed to draft Camp, his nerd rage nadir of a debut studio album, as a piss and vinegar shower for his doubters. But as the beloved “Community” awarded Glover’s musical exploits a higher profile, the pridefully uncool sloganeering of songs like Culdesac’s “Different” crystallized into spite. Gambino later linked up with “Community” composer Ludwig Göransson for Culdesac and EP, proudly twee-as-fuck offerings that pondered Glover’s outsider upbringing over increasingly plush instrumental settings. Early Childish Gambino releases like 2008’s Sick Boi carried the playful “Just fucking around, sorry!” vibe of a rap career started on a lark but buckled under too much squeaky voiced Lil Wayne worship.
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