A Departure from Expectations
The collaborative history between Earl Sweatshirt and MIKE has long been defined by their ability to subvert expectations. Both artists have consistently pivoted away from the personas projected onto them by fans and critics alike. Earl, having moved past his Odd Future origins, has spent years cultivating a sound that bridges the gap between underground experimentalists like billy woods and ELUCID and the newer, looser energy of artists like Niontay. Similarly, MIKE has carved out a niche that defies simple categorization. Their latest project, POMPEII // UTILITY, arrives with the weight of massive anticipation, yet it deliberately avoids the high-octane, collaborative energy many listeners might have hoped for.
Rather than a cohesive, singular vision, the project functions as a split record, with each artist claiming one side. Furthermore, the production is handled almost exclusively by the cloud-rap collective SURF GANG. This choice represents a significant shift from the intricate, jazz-inflected, or funk-driven soundscapes that have characterized their previous solo work. By their own admission, the project was born from a desire to have fun and avoid overthinking, utilizing a collection of beats sent over a two-year period. While this approach lowers the stakes, it also raises questions about the resulting musical quality.
The Limitations of Minimalist Production
The production, largely helmed by Harrison of SURF GANG, leans heavily into a minimalist, almost glacial aesthetic. While minimalism can be a powerful tool in hip-hop, here it often feels stagnant. The beats frequently lack the dynamic range necessary to support the artists’ signature drawling, stream-of-consciousness flows. Instead of the hypnotic contrast between off-kilter beats and lyrical density that fans have come to expect, the album often feels monochromatic. The low-end warbles and sparse hi-hats create a daze that, while perhaps intentional, ultimately feels more like a lack of direction than a stylistic choice.
This issue is particularly evident on MIKE’s side of the record. Tracks like “Da Bid” highlight a disaffected delivery that, when paired with an undulating, repetitive beat, fails to generate momentum. Even on more developed tracks like “AOK,” there is a sense that the production is not providing the necessary scaffolding for the rappers to truly shine. The songs often feel like vignettes—brief, under-developed sketches that fade out before they can fully realize their potential.
A Missed Opportunity for Sonic Variety
The disappointment is compounded by the knowledge of what SURF GANG is capable of. The collective has previously been associated with a childlike, eccentric energy—a “ringtone-esque” sparkle that could have provided a fascinating backdrop for Earl and MIKE’s lyrical dexterity. Instead, the production on POMPEII // UTILITY is utilitarian and straight-faced. The lack of sonic deviation across the 65-minute runtime makes the listening experience feel like a slog, with tracks like “Tampering” and “Back LA” blurring into one another.
There are, of course, flashes of brilliance. The humor on “Kirkland” and the genuine emotional weight of “AFRO” serve as reminders of why these two are held in such high regard. Earl’s performance on “Tour de France” displays a level of technical rigor that is sorely missing from much of the rest of the project. However, in a 33-song tracklist, these highlights are too few and far between. Ultimately, POMPEII // UTILITY feels like a missed opportunity—a project that prioritizes a specific, muted aesthetic over the vibrant, challenging, and beautiful music that both Earl Sweatshirt and MIKE are clearly capable of producing.
