Because the Internet is the second studio album by American recording artist Donald Glover, under the stage name Childish Gambino. It was released on December 10, 2013, by Glassnote Records and Island Records. The recording process began in 2012 and ended in October 2013. Recording primarily took place at a mansion owned by basketball player Chris Bosh, which Gambino rented. The album features guest appearances from Chance the Rapper, Jhené Aiko and Azealia Banks, with production primarily handled by Gambino himself, Stefan Ponce and Ludwig Göransson, among others.
Because the Internet was supported by four singles: '3005', 'Crawl', 'Sweatpants' and 'Telegraph Ave.'. Gambino also released a short film titled Clapping for the Wrong Reasons and a 72-page screenplay to go along with the album in promotion of it. The album received generally positive reviews from critics. It also performed well commercially, debuting at number seven on the US Billboard 200 and number twelve on the Canadian Albums Chart. The album received a Grammy nomination for Best Rap Album. It was certified gold by the Recording Industry Association of America (RIAA) in February 2016. As of November 2016, the album has sold 992,000 album-equivalent units in the United States.
Background[edit]
Under his Childish Gambino name, Donald Glover was the primary songwriter, performer, and producer of the album.
In July 2013, Gambino signed on to create a music-themed show for FX titled Atlanta, a series which premiered on September 6, 2016, and which he stars in, writes, and executive produces. Consequently, he decided to reduce his work for NBC, and only appeared in five episodes of Community's 13-episode fifth season. His role was reduced in order to work more on his music career.[1][2][3][4] On October 4, 2013, Gambino announced on Twitter that his second studio album was completed.[5] He further revealed details at Homecoming Week at Penn State on October 7, stating that 'I got a new album coming out soon, so this is the last time we're gonna play a lot of this shit.'[6] The same day, he premiered a new song titled 'Yaphet Kotto'.[7] On October 8, 2013, Gambino released a teaser video for the album, which he announced as being titled Because the Internet and that it would be released in December 2013.[8] Gambino told MTV that singer Beck gave him the idea for the album title.[9] He explained the title, saying: 'Because the internet I'm here, because of the internet we're all here. It's the language of earth. Everyone keeps saying by this or that year, Mandarin or Spanish will be the most dominant language, but the internet is already a language we are all connected to; even my dad can understand the meme format. But the thing is, there are no rules, which is also the awesome thing.'[10] After the release date announcement, Gambino stated he was upset since Glassnote Records wanted to push back its release to 2014, which he said was because 'it's not a holiday record and I'm not a big artist'.[11] He responded to this, saying: 'If it wasn't gonna be released then, I was gonna release it myself. What's the point of waiting? I feel like that's the only time people would be able to listen to it. December is the perfect time. Albums made a really big impact on me when I was alone and everything was quiet, and I know that's when students go home, that's when everything is closed, so it's a good time to just listen to something and be yourself.'[9] On October 21, he announced a release date of December 10, 2013, for the album.[12][13] The cover is an animated .GIF of Gambino staring at the viewer, which quickly fuzzes out after a few seconds (with strong brush-like strokes blurring his features to the point where he is unrecognizable) as if it had jumped at the viewer, in a process similar to zooming in. The .GIF format is a reference to the Internet, which made it popular and frequent.[14] The physical version of the album functions with lenticular printing to mimic the animation effect.[15] Recording and production[edit]
Rapper Azealia Banks made an appearance on the album track 'Earth: The Oldest Computer (The Last Night)'.
On November 4, 2012, producer Ludwig Göransson said in an interview, he and Gambino were in his studio coming up with new ideas for Gambino's next album. Göransson said it was to be a bigger album than his debut, Camp, with more people involved.[16] Over the following months, Gambino disappeared from social media, remaining reclusive while recording material for the album.[17] The album was primarily recorded in Miami Heat player Chris Bosh's mansion in Los Angeles, which Gambino dubbed 'The Temple'. There, he kept strict rules, which included 'no tweeting or instagramming', 'no shoes', and 'work begins at 10 am'.[9][18] In October 2013, he revealed that he had collaborated with Kid Cudi on a song, but the song would not be featured on the album.[18][19] In October 2013, during a Toronto listening session, Gambino revealed Jhené Aiko as one of the album's guest appearances.[20] He also collaborated with American rappers Chance the Rapper and Azealia Banks on the album.[21] Promotion[edit]On January 11, 2012, Gambino announced he would be releasing a new mixtape soon.[22] The mixtape Royalty was released on July 4, 2012, to positive critical reception.[23][24][25] The mixtape featured guest appearances by Nipsey Hussle, Schoolboy Q, Ab-Soul, Danny Brown, Tina Fey, Chance the Rapper, Beck, Ghostface Killah and RZA, among others.[23][26] On July 23, 2013, Gambino released a promotional single named 'Centipede'.[27] The song opens with Gambino singing a cappella before 'giving way to a spacey beat built around a chunky piano riff' and Gambino's confident rap delivery.[28] The outro of 'Centipede' samples a part from an online mini-documentary about and featuring Charles Hamilton, titled 'Behind the Lava Lamp.'[29] On August 15, 2013, Gambino released a short film titled Clapping for the Wrong Reasons. In the film Gambino previews new music and it features cameo appearances by producer Flying Lotus, actor Danielle Fishel, porn star Abella Anderson, and fellow rappers Trinidad James and Chance the Rapper.[30][31] On October 25, 2013, in an interview with Power 105, Gambino stated he wanted to have a 'dope roll out' for the album, which he said would also include a film.[32] Later that week, he told XXL that the album would also come with a screenplay.[33] On December 6, 2013, Gambino released a 72-page screenplay designed to sync up with the album. It was revealed on the website becausetheinter.net.[34] The screenplay, which is light on dialogue and involves stage directions that are written out Internet-speak and emojis, was accompanied by short, silent clips from Clapping for the Wrong Reasons, and songs from the album were included to be played as the story unfolds. The central character, The Boy, lives in a mansion and spends his days tweeting at celebrities and posting videos to WorldStarHipHop. Everywhere The Boy goes, he sees the words 'Roscoe's Wetsuit.' Eventually, he's forced to sell drugs.[35] Gambino prefaces the screenplay with a notice indicating that Clapping for the Wrong Reasons is considered a prelude, intending it to be viewed before reading the screenplay.[34] On January 7, 2014, Gambino used a video chat with Abella Anderson to announce The Deep Web tour. The tour featured 22 concerts and ran from February 27, through May 3, 2014.[36] Singles[edit]Make music beats software. On October 21, 2013, Gambino released '3005', the album's first official single.[37][38] The following day it was released for digital download on iTunes.[39] The introspective song was produced by Gambino himself, along with Stefan Ponce and Ludwig Göransson.[40] On November 15, 2013, the song's lyric video was premiered on Vevo.[41] The music video was released on December 6, 2013.[42] On February 7, 2014, one of the album's promotional singles 'Crawl', was serviced to urban contemporary radio in the United Kingdom as the album's second official single.[43] On November 25, 2013, 'Sweatpants' which features ad-libs from rapper Problem was leaked online, which Gambino responded unfavorably to.[44] Shortly after, it was made available to those who pre-order the album on iTunes, as the album's first promotional single.[45] The music video for 'Sweatpants' was released on April 14, 2014, which concludes with a dream sequence for 'Urn'.[46] 'Sweatpants' would later be serviced to urban contemporary radio in the UK as the album's third official single on June 9, 2014.[47] On August 19, 2014, the song 'Telegraph Ave.', was serviced to rhythmic contemporary radio in the United States as the album's fourth single.[48] Critical reception[edit]
Because the Internet received generally positive reviews from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 64, based on 26 reviews.[50] Writing for The Boston Globe, Franklin Soults said, 'Love Donald Glover or hate him, this writer/actor/comedian/rapper unquestionably ranks among America's most accomplished performers. [..] The production is as rich as the raps, spanning pop, underground R&B, club music, and psychedelic experimentation. The project is further heightened by Glover's knowing irony, his gift for hooks, and his visionary theme. Without making it a burdensome concept to explain and belabor, the Internet figures prominently throughout the disc in ways empowering and emasculating.'[61] Killian Fox, writing for The Observer, said, 'Glover reflects on some unsettling phenomena of our internet-addled age, such as the 3D printing of guns – and his restless delivery is matched by jerky, off-kilter production. The results are intriguing, occasionally frustrating, rarely boring.'[62] Jabbari Weekes of Exclaim! said, 'Because the Internet is a vast improvement over his debut effort, showcasing an artist who has confidently found a way to coalesce his love for music and films into one hybrid effort.'[63] Christian Lee of HipHopDX said, 'He raps because, well, he can. Most of all, in his ambitious second album Because The Internet, he raps as if to pass the time. Anxious introverts may recognize what Childish Gambino does here, repeatedly: flit around, try to be sociable, but then flee. Childish Gambino still manages to mostly hold our attention, though, because he concerns himself instead with his own terms.'[64] David Jeffries of AllMusic said, 'Connecting with the album is nearly impossible, understanding it is difficult, and often enough, its inflated ego is irksome, but Because the Internet is too free and fascinating to be dragged down by these complaints, so if a Yeezus with more flash and fun is what's required, Gambino's got the good stuff.'[51] Perry Kostidakis of the FSView & Florida Flambeau wrote, 'From a purely musical standpoint, Because the Internet finds itself in contention for best rap album of 2013. Produced almost solely by Gambino (with help from Community composer Ludwig Goransson), it seems as if BTI is the first rap album this year that is completely confident in what it is.'[65] Lizzie Plaugic of CMJ stated in a mixed review, 'Because The Internet is not easily dismissible, because it's so self-awarely annoying. It trips over its own feet hoping the cool kids will roll their eyes at it, because behind those eye rolls is a jealousy that Gambino can fall with such nonchalance. Even though Because The Internet is kind of strange and kind of a bummer, it does show Glover's range as a musician.'[66] Craig Jenkins of Pitchfork stated, 'With Gambino's wordplay ping-ponging from caustic wit to message board snark, the enduring strength of the album is its production. Gambino and Göransson handle the bulk of it here alongside usual suspect Stefan Ponce and alley oops from twin act Christian Rich and Flying Lotus associate Thundercat. Because the Internet's production team not only ensures the sounds are pretty, spacey, and jarring in all the right places, but they also effortlessly nail the album's Dark Side of the Moon/Wizard of Oz synchronicity gambit.'[56] Dom Sinacola of Slant Magazine said, 'More than that, it furthers the general message of the whole album, which is that for all his posturing and charm, Glover may not have it in him to participate in the kind of bacchanalia required of his position as a young, burgeoning, multi-talented rap star. Halfway between throwaway wordplay and trenchant comment about fame, the lyric says a lot about where Glover's head is at: As a former sketch comedian, writer on 30 Rock, and star of the sitcom Community, he leans on his wit as his most formidable weapon.'[67] Philip Cosores of Consequence of Sound stated, 'Yes, the dedication that Glover has seemingly displayed in the project is admirable. But he just doesn't seem to get music on this album. Maybe it's because of his taste, or because he is trying too hard to stand out, or because of his hubris, or because he has lost touch with reality, or maybe it is because of the internet.'[68] Phillip Mlynar of Spin said, 'The only reaction that Because the Internet elicits is the uncontrollable urge to skip to the next song, in hopes that things couldn't possibly get any sloppier. But they do, beginning with the cod-wailing that blights 'Crawl' and volleying with the psychedelic muzak of 'The Worst Guys' (co-starring Chance the Rapper) and 'Zealots of Stockholm (Free Information),' which sounds like Glover has inadvertently locked himself in his practice space and is attempting to muster up a loud enough mess so that some kindly passerby will hear his cries for help. As the album collapses into itself with the closing cut, 'Life: The Biggest Troll (Andrew Auernheimer),' we're resigned to existence as a gloopy mess of random thoughts. 'Where's the line between Donny G and Gambino?' the rapper muses, but it's unclear whether this is meant as a genuine identity crisis or an all-knowing middle finger to critics. Maybe the entire album is a meme itself, a grand existential joke critiquing the all-conquering rise of Internet culture by parodying its overwhelming randomness. Whatever it is, though, it's a bad rap record.'[59] Accolades[edit]It was named the tenth best album of 2013 by Complex. They commented saying, 'Because The Internet is unlike any other rap album this year. Musically, it's as ambitious as something Kanye might do. [..] It only leaked last week, but it's some of the most engaging, rewarding music we've heard all year.'[69]XXL ranked it at number 15 on their list of best albums of 2013. They elaborated saying, 'One of the most creative albums of the year, actor/rapper Childish Gambino meshes both his talents together for a very innovate and impressive album. He ditches the goofy-comedic rap lyrics with introspective bars that tell a story about a boy who is trying to find himself in life. [..] The music itself is really polished and well-produced, showcasing his growth lyrically and musically as he frequently sings on records.'[70] The album was nominated for Best Rap Album at the 2015 Grammy Awards.[71] Commercial performance[edit]Because the Internet debuted at number seven on the US Billboard 200, with first-week sales of 96,000 copies in the United States.[72] This would be an 84% increase in first week sales in his home country, compared to his debut album Camp.[73] In its second week, the album dropped to number 25, selling 28,000 more copies.[74] In its third week, the album rose to number 20 selling 33,000 more copies in the United States.[75] In its fourth week, the album moved up to number 18 on the chart, selling 16,000 more copies in the United States.[76] Due to Record Store Day, the week ending April 20, 2014, the album peaked at number one on the US Top Vinyl LPs, selling 3,000 vinyl copies.[77] On February 18, 2016, Because the Internet was certified gold by the Recording Industry Association of America (RIAA) for sales of over 500,000 copies.[78] As of November 2016, the album has sold 992,000 album-equivalent units in the United States, with pure album sales of 525,000, and on-demand audio and video streams that totaled 1.1 billion.[79][80] Track listing[edit]
Notes
Personnel[edit]Album credits adapted from AllMusic.[82] King of Fighters is here again, with a brand new 1.02 version. Play solo or against your friend – choose your favorite SNK / SEGA / Nintendo / []. Play KOF Wing Ex 2 game, a fun online game at KBH Games. The first chapter of The King of Fighter Wing has been published in 2007 if you remember, and now new chapter of it has been published. Excitement and action.
Charts[edit]
Certifications[edit]
Release history[edit]
References[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Because_the_Internet&oldid=897877352'
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Don't allow the narrative surrounding Donald Glover's musical career define the way you think.
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When the leak of Childish Gambino’s sophomore record Because the Internet arrived in my inbox last week, I was a little hesitant to open it. Not because I thought I had a porn virus or the Syrian Electronic Army was attacking me, but because I’d followed Glover’s zig-zagging narrative closely over the past six months. First, he announced that he’d be cutting down his time in Community. Then he went pretty quiet on social media, despite dropping his first track in sometime, “Centipede.” Then he released Clapping for the Wrong Reasons, that strangely bizarre 30-minute experimental silent film completely different from any of the silly comedy he was known for (“Troy and Abed in the morning,” anyone?) Then that whole “Instagram photo” thing happened, in which he posted a bunch of handwritten letters in the Renaissance Hotel explaining his own frustrations with media and the internet. Then he dropped some more new music—music that made the few people on the rap internet who actually listened to it say, oh, wow, this is pretty good—and announced Because the Internet’s release, which is today. Then he spoke to Noisey about attempting suicide and taking more drugs in order to be a better rapper. And now, anytime he’s in public, he looks stoned out of his mind, a bit like he’s floating, uncertain of his next move but still carrying a bit of innate, Hollywood-charm. As a critic and a rap fan, it was fascinating to watch his development as an artist. And so when the record did indeed arrive, I was wary of listening because, holy shit, what if I actually like this Childish Gambino record? The fact that I had this internal discussion—whether or not it was okay for me to like this music—is inherently funny, but what’s more is that it’s indicative of exactly what the Because the Internet is about, how self-aware Glover is, what he is trying to accomplish with Gambino, and what the culture thinks of him. Oh, and it’s also important to consider that this is a record made by Childish Gambino, who is arguably one of the most automatically hated rappers currently in the game. Let’s step back for a moment. Why do we—as in, the “music critics and those who care about music criticism”—seem to hate Childish Gambino so much? Donald Glover seems like a nice guy, no doubt. Outside of his rapping, the 30-year-old has had a very successful career as a writer, comedian, and actor. He started writing for 30 Rock at the ripe age of 23, fresh out of college, a gig that ended up winning him awards. He starting acting, getting cast as Troy on Community, a smart, goofy comedy that won the heart of the AV Club set. His stand-up is sharp-witted and quick, full of clever little puns and self-aware jokes, embracing being a weirdo. And until recently, after he decided to go into hibernation while he prepped for his new record’s release, he’d had a charming reputation with the press, notably landing a major profile in the pages of the Village Voice back in 2011, sporting a red American Apparel hoodie on the cover, flashing that million dollar smile, goofily sticking a mannequin's hand down his pants in the photo spread. In short, for most of his career, he’s had the reputation of someone wholesome and loveable, someone who’d be great for a dinner party with your mom and dad. Come to think of it—that’s precisely why music critics love to hate this dude. He is not cool, and he does not care. No one who is cool would ever come up with their rap name by sticking “Donald Glover” into that dumbass “Wu-Tang Name Generator” that floated around the internet a few years ago. Need proof? Let’s start with the Pitchfork review of Camp, his debut record. Giving a pathetic 1.6, Ian Cohen knocked it hard, writing that “Glover isn’t strictly a comedy rapper, but he flows like a comic actor: When he’s trying to be playful, his voice hitches in a pubescent squeak, and when he “goes in,” he’s still delivering one room-clearing punchline after another with earnestness of the most confused Rhymesayers guy ever.” Despite the review being pretty accurate (Camp is by no means a good album), it created a go-to set of opinions for every hip kid who reads Pitchfork, and from then on, everything Childish Gambino produced automatically had the reputation of sucking. Earlier this fall, Glover addressed this—and the fact that he knew that Camp wasn’t very good—in his interview with Noisey. “Pitchfork helped me a lot,” he told Slava Pastuk. “There’s no way I can make something worse than that. It would be impossible. But I’m not worried about them because they’re a brand, and I didn’t fit their brand. If I worked for Pitchfork, I wouldn’t give myself a 9.0 either. They’re a brand; they sell tickets to a show they put on every year. They’re not going to give a 1.6 to someone who can be at their show and sell tickets.” Despite Glover’s self-awareness and willingness to move on from the past, the fallout is prevalent. Just look at some of the critiques that’ve started to roll in for Because the Internet. In his one and a half star review for Consequence of Sound, Noisey contributor Philip Cosores highlighted one of the record’s lyrics—“spending more on friends than TBS” from “Life: The Biggest Troll (Andrew Auernheimer)”—and shared an anecdote of how he used to work as a bartender and would pretend to have not seen the TV show if male patrons asked or wanted to talk about a random episode (because god forbid dudes like Friends). “I’d probably fake laugh and say “that’s funny” at the end,” Cosores writes. “I did that because I was nice and didn’t want to tell those guys that Friends is lame and they should be embarrassed for liking it so much that they ask their bartender to talk about it with them. Because I was nice, this review skirts the same issue, the heart of why people won’t like this album. Because it is not cool.” That’s it right there. As silly as it sounds, Childish Gambino is not a cool thing to like. It’s easy to hate him before he opens his mouth. Because, come on, right? He wears thick glasses and makes puns. He has a smile that’s better than yours. Even though that Friends line is genuinely pretty funny—if Lil Wayne had said this, we'd all love it, crediting it for being both a clever and complicated line. But it's not Lil Wayne. It's Troy from Community. Nothing about his music has ever felt “real,” for the lack of a better term. He’s soft. He’s emo. He’s a dork. And what’s more, every insult thrown at Drake for his TMI-vibes over the past three years can be taken times about 100 in regards to Gambino. But, ah, now doesn’t that raise an interesting question? Why are we so okay with Drake and why do we hate Childish Gambino? Why is Drake “cool?” I mean, Drizzy is a guy who has lyrics aboutpassive aggressive text-messaging. But because Drake’s narrative has been crafted such that he’s the golden boy—a “politician masquerading as a rapper,” I wrote earlier this year, claiming that fact is “amazingly punk and groundbreaking”—he gets the pass. Remember when Drake’s album hit in October? The internet rejoiced. We here at Noisey dedicated an entire week to the Canadian actor-turned-rapper—running posts on everything from his hairstyle to what it’s like to listen to Drake for the first time to a day-in-the-life cover story of the rapper focusing on Nothing Was the Same’s release day activites . What’s more is that NWTS will end up on countless year-end lists (if it hasn’t already; shout out to year-end lists that come before the end of the year), and Drake is, right now, one of the biggest rappers in the world—lauded for blurring the lines between hip-hop and pure pop. Taste is obviously subjective, and the argument that you have to like Childish Gambino because you like Drake doesn’t really make sense. But their similarities cannot be denied, and it’s funny to think that suggesting a new Gambino record is actually quality, that this dude actually grew up and figured out how to make some good music might automatically get you a slap in the face from an Important Music Writer. The fact is—get ready for it--Because the Internet is a good fucking record. The production is gripping, carrying the smoothness of Channel Orange blended with Yeezus-esque bombast. Glover’s flow has improved immensely, working more alongside the beat, versus nasally jumping on top of it. He’s singing much, much more, which plays to his best qualities as a performer. In a certain way, he’s taken the vibe from that Frank Ocean verse from Earl Sweatshirt’s “Sunday” and made a 19-song record out of it—and he’s created an appealing and challenging social commentary to go with it. Like any successful artist, Glover’s figured out his strengths and weaknesses. He’s stopped doing what’s expected of him, and started doing what makes him happy. He's figured out how to write subtly—many of the gripes of Camp circle on the vile and overt nature of his potentially misogynistic feelings. To get a prime example of his growth in understanding who he is, look at “Telegraph Ave. (“Oakland by Lloyd”),” my favorite song on the record. The cinematic track features a character going for a drive, singing along to the radio, getting lost in a moment. “Foot on the gas, I’m just tryna pass / All the red lights and the stop signs / I’m ready to go,” he sings, wrapping his voice in swirling synths, cruising on his self-deprecating thoughts, doing everything he can to escape whatever has him trapped in his head. But perhaps what makes Because the Internet so compelling is that this shit gets weird. Looking at the tracklist, the album is divided into different sets of Roman numerals, suggesting that each set is a vignette in the development of its story. Glover even released a screenplay to pair with it, and the development of the record feels like it's slowly spinning in and out of control. The five-song run to end the record, starting with “Zealots of Stockholm (Free Information),” is one of the most bizarre bits of music to hit 2013. There are no hooks; only chaos. It jumps back and forth from Justin Timberlake-like croons to confusingly beautiful production that sounds like someone getting electrocuted to some shit with a flow fired straight out of a cannon. Lyrically, out of nowhere, Glover imagines himself getting assassinated in a Denny’s diner by a gun made with a 3D printer. He paraphrases Kinison. He gets political: “I never understood the hate on a nigga preference / when ever marriage is a same sex marriage / same sex every day—monotonous.” Then, after skitzing around for a few tracks, he ends the wild up and down ride that is Because the Internet with “Life: The Biggest Troll (Andrew Auernheimer),” which showcases his best rapping skills, spitting lines so fast, internally rhyming and flowing faster than your ear can keep up, on par with any other MC out there. It's brilliant, really. Glover makes you stick it out till the end—through all his fucked up imagery and post-modern thinking and weird house-like production and everything else that may annoy you about his rapping—simply to be like, 'Oh yeah, fuck you. I can actually rap.' Because the Internet is a concept album that challenges, questioning what the internet exactly is, how it’s affecting us whether we’re as famous as Donald or just your average dad with a smartphone, and what that connectivity is doing to change or alter the way our society thinks. The raps are self-conscious; not pandering. They’re overt; not obnoxious. They’re cheeky; not annoying. This is a guy who’s been living in the spotlight for the past five years—someone who’s openly used the internet and its tools to get famous and make jokes and spread his art—but now he’s seeing the fallout of that, witnessing how staring at a screen for ten hours a day might not be the best way to live your life. Our culture is fleeting. Glover, like the rest of us, is so keenly aware that it’s happening—he’s just trying to hold on. You should shut up the fuck up and listen to him try. Eric Sundermann is the Managing Editor at Noisey. He’s on Twitter -- @ericsundy
On his second album, actor-turned-rapper Childish Gambino wields his nerdiness with newfound confidence, spitting meditations on Internet culture with fluency and ease. The Community star (a.k.a. Donald Glover) drops winking bars like “Never gonna reach a million/Eventually, all my followers realize they don’t need a leader,” while the click-worthy upstarts Chance the Rapper, Kilo Kish and Jhené Aiko make cameos. The production is full of twists and turns – jazz fills, dubby static, R&B singalongs – that evoke scrolling endlessly through a Tumblr dashboard. As a concept album on man’s most abstract concept, Because the Internet is more than worth the download.
Childish Gambino Because The Internet ReviewPMCChildish Gambino Because The Internet Download Free© 2019 Penske Media Corporation Comments are closed.
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