“I spent a fucking year putting together Oxymoron, and these reviewers have figured it all out and made up their minds about it the day after it was released?” ScHoolboy Q says. “Come on, man. I poured my heart and soul into this thing. You can’t tell me you absorbed it all after one or two listens.”
When asked if he attributes this issue to “fast-paced music blog mentality ingrained in the industry now,” Q says he can see how blogs have affected the industry.
“As much as it helped the game, it fucked the game up, too,” he says. “When it came, people just got carried away. There was something dropping all the time. Every day, there’s four rappers releasing shit. It’s just getting out of hand now, I mean. I don’t want to be one of the rappers complaining. I don’t want to sound like I’m playing anybody. But I’m just saying: the game is kind of fucked up.”
“In 2014 it’s not realistic to expect a major label album to be exclusively comprised of the dark material found on Oxymoron’s stellar moments; that would essentially give you Joe Budden’s Mood Muzik,” HipHopDX says in its review of the album. “But the handful of ill fitting songs presumably positioned as singles tarnish Q’s overall presentation, and they can feel like excess baggage. Listeners in search of lighter fare will likely gravitate toward ‘Studio’ and ‘What They Want,’ unintentionally reducing tracks like ‘Collard Greens,’ ‘Los Awesome,’ ‘Man of the Year‘ and ‘Hell of a Night‘ to filler. Ultimately the good moments are on par with what will be considered 2014’s high-water marks, and if held they weren’t held to the high standards of Setbacksand Habits & Contradictions, Q’s low points would be acceptable from another rapper. Given TDE’s ever-increasing appeal, Oxymoron isn’t quite an elite offering, but it meets the difficult task of attracting casual fans without straying too far from the formula that attracted ScHoolboy Q’s core audience.”