When an individual thinks about Donald Glover’s music persona, Childish Gambino, three options come to mind. “This is America”, which was a hit single discussing the horrors happening in the world, “Les,” Gambino’s most popular song, or “3005.”  The album that “3005” is from is titled “Because the Internet.” Let’s break that amazing album down. 

The album itself was made to connect to a short film made by Donald Glover titled “Clapping For the Wrong Reasons,” which was published solely on YouTube. This film explores the meaning behind the album, which touches on love, isolation, and the ideals of social media. The album itself includes 19 songs, only four of which include features.  

I. The Library (Intro)

The album opens with “The Library (Intro),” a short but haunting start that sets the tone for the world Childish Gambino is about to drop us into. It’s quiet, echoey, and full of that feeling like something big is coming.  Even though it’s only a few seconds long, it perfectly captures that weird mix of loneliness and digital overstimulation that runs through the whole album. It’s giving ‘scrolling alone at 2 a.m.’ energy, and it’s the calm before all the chaos that follows.

II. Crawl

“Crawl” immediately smacks you in the face, in the best way. It’s heavy, glitchy, and full of confidence, setting Gambino up as this sharp, self-aware narrator in a messy internet world. I love how it feels aggressive but still introspective, like he’s hyping himself up while quietly spiraling. The production is insane, the distorted bass, the echoing background vocals, all of it feels like controlled chaos. It’s the kind of track that makes you nod your head and think, “Oh damn, he’s not playing around.”

III. Worldstar

Then “Worldstar” slides in, and it’s literally the perfect reflection of what the internet became in the 2010s: viral, violent, and so entertaining. Gambino somehow makes it sound both catchy and critical, which is iconic behavior. It’s like he’s saying, “Look at the world we built, and how obsessed we are with it.”

The production feels like scrolling through chaos, the trumpets, the samples, the background voices, everything feels like a timeline moving fast. I absolutely love the “Worldstar” chanting in the background. I feel like the vibe just comes together so perfectly. It’s one of those songs that makes you want to turn up, dance and overthink about our society all at the same time.  

IV. Dial Up

After the madness of “Worldstar,” “Dial Up” feels like taking a breath, kind of awkward, kind of nostalgic, but it perfectly leads into our next song. It’s such a small interlude, but it adds that retro, early internet energy that ties the album’s world together. It’s giving buffering screens, AIM messages, and loneliness disguised as connection. It’s short, but it’s so intentional, like a quick mental reset before we dive into something deeper.

V. The Worst Guys (ft. Chance the Rapper)

The vibes completely shift here. “The Worst Guys” feels like summer nights, late drives, and the fake confidence of pretending you have everything figured out when you actually don’t. The song is upbeat and playful, but there’s that subtle emptiness behind it that makes it hit harder.

Gambino and Chance together? Literal magic. They balance each other perfectly. Chance brings the lightness, while Gambino keeps that quiet edge. It’s the type of song that makes you want to smile and scream the lyrics at the same time, which feels very on brand for this album. Totally a summer, windows down type vibe.

VI. Shadows

“Shadows” slows everything down and gives us this moody, emotional pocket that feels like heartbreak mixed with self-awareness. His vocals are smooth but full of ache, and the production is dark yet dreamy. It’s that moment when you’re staring at your reflection and realizing you’re not as okay as you’ve been pretending to be. The jazziness of the beat mixed with his raw lyrics makes it one of those songs that creeps up on you emotionally; it’s subtle, but it sticks.

VII. Telegraph Ave (“Oakland” by Lloyd)

This one is such a vibe. It’s nostalgic, romantic, and cinematic all at once, the perfect mid-album moment. Gambino’s singing here hits in a way that feels real and human, like you can actually feel the longing through his voice. The fake radio intro with Lloyd’s sample? Genius.

It’s a song about wanting connection, about chasing something that’s just far enough away to hurt. “Foot on the gas, I’m just trying to pass. All the red lights and the stop signs. I’m ready to go.” Absolute bars. “And you’re saying it’s because of the Internet.” Like, yes, album plug. This is such a great song to blast while driving. It’s soft, emotional, and timeless, definitely one of my favorites.

VIII. Sweatpants

Oh, this one is so iconic. “Sweatpants” is Gambino at his cockiest, funny, clever, and so self-aware it almost hurts. Every bar hits. The flow, the sarcasm, the energy, it’s all immaculate. It reminds me a lot of the song “Bonfire” from his album “Camp” in the way he uses clever lyrics.

He’s mocking fame and flex culture while still indulging in it, which is exactly what makes this song genius. Not only that, but the beat behind it is absolutely incredible, putting you in a perfect confident mood. It’s chaotic confidence personified, and you just know every lyric is delivered with that signature Gambino smirk.

IX. 3005

“3005”  is the song everyone knows, but once you really listen, it’s so much deeper than it seems. On the surface, it sounds like a love song, catchy, fun, and easy to sing along to, but underneath, it’s about loneliness, fear of the future, and clinging to anything that makes you feel less alone.

The hook is infectious, but the lyrics? Lowkey heartbreaking. “I’ve lost all hope of a happy ending, depending on whether or not it’s worth it, so insecure, no one’s perfect.” So incredibly heartbreaking yet also relatable. It’s the perfect balance of emotional and commercial, and it’s no wonder this one became such a breakout hit.

X. Playing Around Before the Party Starts

This interlude feels like we’re eavesdropping; it’s so raw and chaotic, and that’s what makes it work. It sets up the next section of the album perfectly, pulling us deeper into the narrative. It’s like being at a party but watching it from outside, half detached, half lost in your thoughts. We’ve all experienced it when you’re at a party, and all of a sudden, nothing feels real. Part of you wants to leave, but the other part feels like you’re completely stuck in that moment. That is exactly how this makes you feel.

Every sound feels intentional, like it’s meant to blur the line between what’s real and what’s performative. It’s fun to listen to but also kind of unsettling, which is exactly the point.

XI. The Party

This track feels like overstimulation personified. The production is loud, jumpy, and scattered; it perfectly captures the high-energy chaos of a party where no one’s actually happy. I can admit, I did listen to this song on repeat a few years ago until I perfectly learned the extremely fast rap Gambino performs at the end of this song. The lyrics feel empty on purpose, like he’s surrounded by people but still completely alone. You can practically feel the crash that’s coming after this high. 

XII. No Exit

Here’s where the tone completely shifts. “No Exit” feels claustrophobic and dark, like the aftermath of too much noise and too many thoughts. This song almost sounds like it would fit well in his album “Awaken, My Love!” but I am happy it is included here.

The lyrics are heavy, almost like he’s trapped in his own head, spiraling. It’s uncomfortable but honest. However, although this may be an unpopular opinion, I can 100% say that this is included on my list of favorites from this album.

I love the part where he says, “Look at my feet, I put my sneakers in the trunk,” and then it cuts to the real sound of a trunk, and a thump hitting it. It truly gives you a feel of realness, almost like we’re there with Gambino as he suffers through this pain. You can tell this is one of those songs that came from a real place, where the fame, the pressure, and the self-doubt all stars are colliding.

XIII. Death by Numbers

Another short interlude, but it’s eerie in the best way. It feels like a system reboot, cold, empty, and digital. It’s the moment of silence before the breakdown, both literally and emotionally. The static and minimal sound design makes it feel like a transition, like we’re leaving the physical world and heading somewhere deeper.

XIV. Flight of the Navigator

This one is intense. It’s spacey, emotional, and almost spiritual. Gambino’s voice floats through the production like he’s completely detached from reality; it’s so ethereal. The storytelling here is immaculate, and the way it blends sadness with wonder gives it this dreamlike quality. It’s the kind of song that makes you just sit there quietly when it ends, like you don’t even know what to say.

XV. Zealots of Stockholm (Free Information)

This song is wild in the best way.  The production changes halfway through, the tone flips, and it’s like you’re being pulled through his thought process in real time. It’s dark, complicated, and feels like he’s fighting himself with one part of him that wants to care, the other doesn’t. It’s one of the more experimental tracks, but it perfectly fits the chaos of the album’s latter half. It’s like the soundtrack to an existential crisis, but somehow still a great listen.

XVI. Urn

“Urn” is short but so beautiful. It’s soulful, gentle, and intimate, like a deep breath after all the chaos. His vocals sound warm and vulnerable, and it almost feels like he’s saying goodbye to something or even someone. It’s quiet but emotional in a way that doesn’t need to be loud. This is a great song to listen to while sitting alone, truly thinking about your life and choices. Definitely one of those songs that hits harder the more you listen.

XVII. Pink Toes (ft. Jhené Aiko)

Ugh, “Pink Toes” is dreamy perfection. The collab with Jhené Aiko is everything, and their voices blend as soft as silk. Although this song is mostly used for prom transitions, with its line “As long as I look fly by prom night,” I can promise you it includes way more than that.

It’s playful and flirtatious but still has that melancholic undertone that runs through the whole album. To me, this is the perfect summer anthem. I can admit, I have blasted this on my favorite New Jersey beaches more times than I can count.

It feels like the calm before the end, like two people pretending they’re okay while everything else falls apart. “Rainbows, sunshine” being repeated over and over again almost sounds as if they’re convincing themselves that it’s going to be ok. I love how it’s both soft and emotionally loaded at the same time.

XVIII. Earth: The Oldest Computer (The Last Night)

This one feels like a celebration and a meltdown all at once. The beat is technological, energetic and bright, but the lyrics hit with existential panic. It’s giving ‘dancing while the world ends,’ which is so perfectly Gambino.

It feels as if he’s looking at himself in the mirror, as he repeats a mantra of lyrics to make him feel better. You can tell he’s making a statement about the internet and connection, but he’s doing it in a way that makes you want to move. It’s chaotic, smart, and one of the best representations of the whole album’s message.

XIX. Life: The Biggest Troll (Andrew Auernheimer)

The finale, honestly? It’s perfect. “Life: The Biggest Troll” ties everything together, between fame, the internet, loneliness and the constant performance. The lyrics feel like a final confession, like he’s fully aware that he’s part of the system he’s been criticizing. The outro fades out like a question, leaving you unsure if he’s found peace or just given up trying.

It’s haunting, genius, and exactly the ending this album deserves.