II. Shadows

The Inevitability of Endings
At its core, "II. Shadows" is a meditation on the transience of happiness and the inescapable nature of time. The title itself is the central metaphor: shadows only exist when there is light (love/happiness), but their lengthening signals that the light is fading. The song captures the specific anxiety of being in a perfect moment while simultaneously fearing its end.

Context within Because the Internet
This track is a crucial component of the screenplay that accompanies the album. It falls within Act II, where "The Boy" (the album's protagonist) is navigating a relationship. The song represents the turning point where the initial infatuation begins to curdle into doubt and distance. The abrupt musical shift in the second half of the song mirrors the shift in the character's psyche—from connection to dissociation.

Old School vs. New World
The first half of the song represents a traditional, analog type of romance—warm, soulful, and groovy. The second half, which is slower, pitch-shifted, and disjointed, represents the intrusion of the "internet era" anxiety. It suggests that in the modern digital age, sustaining genuine, organic connection is increasingly difficult, and relationships are subject to glitches and distortions just like the technology we use.

The narrative begins in a moment of intimate appreciation, where the protagonist is deeply focused on the physical presence of his romantic partner. He observes the details of her face, particularly her smile, and expresses a desire to preserve this specific moment in time. There is a sense of desperate contentment; he wants to bottle the feeling of the afternoon, likening his affection to a form of preservation, albeit with a slightly morbid undertone of keeping memories like ashes in an urn. He playfully seeks validation about his appearance, specifically his beard, grounding the high emotion in casual, couple-like banter. The setting feels warm, domestic, and seemingly perfect, characterized by a relaxed Sunday afternoon energy.

However, as the narrative progresses, an external anxiety begins to intrude upon this domestic bliss. The protagonist notices the environmental shift—the sun is going down—which serves as a catalyst for internal dread. He repeatedly notes that the "shadows" are appearing. This is not merely a description of twilight but a realization that the "honeymoon phase" is expiring. He acknowledges a loss of control; the passage of time is inevitable, and with it comes the end of the current emotional high. He pleads for the shadows to hold back, wishing to extend the light and the happiness it represents, but he ultimately accepts that change is coming.

The story then undergoes a drastic shift, mirroring a fracture in reality. The perspective moves from the clear, melodic appreciation of love to a disjointed, confused state. The protagonist grapples with a new reality, possibly post-breakup or within a deteriorating dynamic. He questions the nature of love in the modern era—is it real, or is it just a digital simulation? He mentions mundane interactions, like a phone call asking about his day, but these are juxtaposed with a feeling of alienation. The ending is a resignation to the strange, sometimes hollow flow of life, accepting that people and feelings drift away just as the day fades into night.

Production and Collaboration
"II. Shadows" was released on December 10, 2013, as part of Childish Gambino's second studio album, Because the Internet. The track was produced by Donald Glover (Childish Gambino) alongside his longtime collaborator Ludwig Göransson and Stefan Ponce. A defining element of the song is the intricate, groovy bassline performed by virtuoso bassist Thundercat (Stephen Bruner). His contribution gives the track its distinct neo-soul texture, separating it from standard hip-hop production.

The Mansion Recording
Much of the album, including this track, was conceived and recorded in a mansion in the Pacific Palisades that Glover rented, which he dubbed "The Temple." Glover imposed strict rules in the house to foster creativity, such as no tweeting or Instagramming, to keep everyone focused on the present moment—a theme that ironically bleeds into the song's lyrics about trying to hold onto the present.

The Screenplay Integration
The song was written to function as a soundtrack to a specific scene in the 72-page screenplay Glover wrote for the album. In the script, this song plays during a montage of The Boy and his love interest, capturing the passage of time and the subtle deterioration of their bond.

Rhythmic Feel
The song (part one) is written in a 6/8 or 12/8 meter, giving it a triplet-based, swaying feel characteristic of classic soul and doo-wop ballads. This compound meter creates a circular, rolling motion that feels like a gentle rock or a lullaby.

Rhyme Scheme
The lyrics in the verses follow a fairly loose rhyme scheme, often utilizing slant rhymes (e.g., "moment/focus", "urn/learn") to maintain a conversational, stream-of-consciousness flow. The repetition in the chorus ("Oh no, no, no") relies on rhythmic repetition rather than complex rhyming to build tension.

Pacing
The pacing is deliberate; the first half feels like a brisk walk on a sunny day, while the second half feels like wading through molasses. This manipulation of time perception via tempo change is a direct musical representation of the song's theme: time moving too fast, then becoming distorted.

The Beat Switch (Binary Structure)
The most notable technique is the song's structural split. It begins as a neo-soul/funk track with a bouncing rhythm, bright electric piano (Rhodes), and falsetto vocals. Around the 2:45 mark, the song deconstructs. The tempo slows drastically, the pitch drops, and the production becomes murky and atmospheric. This sonic shift mimics the lyrics: the "shadows" have taken over, and the bright reality has dissolved into a confusing haze.

Vocal Delivery
Glover utilizes a smooth, Prince-esque falsetto in the first half to convey vulnerability and sweetness. In the second half, the vocals are often processed, mumbled, or spoken, reflecting detachment and resignation.

Instrumentation
The use of live instrumentation, particularly Thundercat's complex, wandering bassline, provides a human, organic feel that contrasts with the synthetic, computerized sounds that creep in later in the track. This mirrors the tension between human emotion and the digital world.

Critical Acclaim
Because the Internet is widely considered a landmark album in the 2010s hip-hop landscape, and "II. Shadows" is frequently cited by critics and fans as one of its musical highlights due to its production value and genre-bending structure.

Showcase for Thundercat
The song helped introduce a wider hip-hop audience to the bass stylings of Thundercat, who would later go on to release the critically acclaimed album Drunk and win Grammys. His work on this track is often pointed to as a prime example of his signature sound.

Modern Soul Revival
The track contributed to the resurgence of psychedelic soul and funk within the hip-hop sphere, paving the way for the more drastic funk evolution Glover would take on his next album, "Awaken, My Love!".

The Shadows
The primary symbol of the song. While literally referring to the time of day (sunset), metaphorically, the "shadows" represent the doubts, insecurities, and inevitable end that creep into even the happiest relationships. They signify the encroachment of reality upon a fantasy.

"Kiss you like an urn"
This is a striking and slightly macabre simile. An urn contains the ashes of the dead; to kiss someone "like an urn" suggests holding onto them with the reverence and grief one has for something already lost. It implies the narrator is already mourning the relationship while it is still alive.

The Sun/Light
Represents the peak of the relationship—the warmth, the clarity, and the joy. The narrator's plea for the sun to stay reflects a resistance to change and growth.

The Beard
The line "I hope you like my beard" serves as a symbol of the passage of time and maturation. It also grounds the lofty, existential themes in physical, intimate reality.

"Shadows"
The word is repeated throughout the chorus, acting as an ominous mantra. Its repetition reinforces the inescapable nature of the ending.

"Oh, no, no, no"
This refrain serves as a motif of denial. It is the narrator's immediate emotional reaction to the realization that the "sun" is setting. It is a futile protest against the natural order of things.

"I hope you..."
The narrator repeatedly expresses hopes ("I hope you understand," "I hope you like my beard"), highlighting his insecurity and his reliance on his partner's validation to feel secure in the changing environment.