A couple of years ago, when the Odd Future major-domo Tyler, the Creator made his television performance debut on “Late Night With Jimmy Fallon,” it was a transfixing eruption of untamed energy and nerve, pop savvy and mayhem, ending with his jumping on Mr. Fallon’s back and grinning for the cameras, a misfit who just ran wild through the castle.

Earlier this month, Odd Future’s Earl Sweatshirt made his debut on the same show, performing “Burgundy,” a low-key vamp from his major-label debut album “Doris” (Tan Cressida/Columbia), at an energy level somewhere below simmer. The song — its first half, anyway — is a strikingly naked admission of stress from an artist whose career path was largely shaped for him while he was at a boarding school in Samoa during Odd Future’s ascent. “Afraid I’m going to blow it,” he raps at one point. At another: “I’m ‘bout to relish in this anguish.”

The contrast was emblematic of the difference between the first and second generations of the recent wave of Internet-facilitated hip-hop movements: the accessible traditionalist who seemed avant at first glance, giving way to the true eccentric who suddenly has a huge stage to shine on. Tyler, the Creator was able to kick down doors with his charisma and drive, as well as the intensity of his vision, which includes room for an outlandishly gifted solipsist like Earl Sweatshirt.

A similar dynamic is at play in the rise of ASAP Ferg, a member of ASAP Rocky’s extended crew, the ASAP Mob. Over the last couple of years, ASAP Rocky has reframed the sound of New York hip-hop, borrowing widely from other regional styles. But with his intense charm and his pinpoint-precise aesthetic choices, it was clear almost from the beginning that he was a mainstream rap star in cool-kid clothing.