One of the standout tracks from the album is "LUMBERJACK," which was released as the lead single. It includes guest appearances from notable artists such as Ty Dolla $ign, Lil Wayne, Lil Uzi Vert, Daisy World, Domo Genesis, and others, adding a layer of diversity and depth to the project. The album features 16 tracks, each showcasing Tyler's unparalleled creativity and artistry. Known for his genre-defying approach, Tyler once again pushes the boundaries of hip-hop, incorporating various musical influences and experimenting with unconventional sounds and structures. " CALL ME IF YOU GET LOST" showcases Tyler's unique blend of musical styles, with elements of rap, singing, and production seamlessly woven together to create a cohesive and captivating sound. This album marked another milestone in Tyler's illustrious music career, following the success of his previous critically acclaimed albums such as " IGOR" and " Flower Boy." After the success of IGOR, Tyler took a solo joyride: “Bought another car ’cause I ain’t know how to celebrate.” A chapter-closing gift for fans, The Estate Sale is a lake house afterparty.Tyler The Creator is an American award-winning rapper, singer, songwriter, and producer, released his highly anticipated studio album titled " CALL ME IF YOU GET LOST" on june 25, 2021. The cover of The Estate Sale depicts Tyler in a similar position-gazing into the distance, suitcases in hand-though he would probably call them valises now. An estate sale insinuates the death of its owner: death of preconceived notions of success, death of ego, death of self-destructive nihilism. When I first heard Tyler associate himself with his Baudelaire persona on Call Me If You Get Lost, I didn’t think of the French poet: I thought about the orphans at the center of Lemony Snicket’s children’s novels A Series of Unfortunate Events. Constantly on the run, they’re never in one place long enough to unpack their suitcases. Twenty seconds into original album track “Massa,” a drum beat cuts Tyler off when he begins to idolize his passport. “Heaven to Me” diverts that incomplete thought with a tender ode to domesticity-date nights, water-gun fights, loved ones in the kitchen, and seeing a piece of yourself in the children you helped to bring into the world. On “Sorry Not Sorry,” he glimpses guilt and helplessness about not leveraging his status for Black liberation: “I can’t save niggas/I’m not Superman, but I could try.” On “What a Day,” he shouts out Black women, especially the ones who raised him. He brings back his love for ’80s synth-funk on “Boyfriend, Girlfriend” and taps into New Orleans bounce and Southern trap across “Dogtooth” and “Stuntman.” A$AP Rocky gushes about spoiling his lady on “Wharf Talk,” while Tyler croons with the angst of his Flower Boy and IGOR eras. The breezy and soulful “What a Day” and “Heaven to Me” bring in a John Legend sample and an unreleased Madlib deep cut to complement the album’s leisurely, jet-setting atmosphere.Īs he adjusts to the altitude, Tyler’s position as a community leader presents itself as a new source of anxiety. The stylistic adventurousness of The Estate Sale offers insight into the sounds that would become Call Me If You Get Lost. Tyler’s own biting, almost Pusha T-like inflection over the New Boyz-type beat could’ve spawned a dance trend in the early 2010s. Fellow Californian Vince Staples rides into “Stuntman” like he’s behind the wheel of a monster truck: “No, you can’t be my girl, bitch, are you dumb?” If you have beef, he suggests you duel him in Milan-if you can afford the flight, that is. As he’s evolved in his artistry, he’s replaced shock value with boasts whose imagination and precision-“I got a jelly bean, Kelly green Rolls/And the guts off-white like a jalapeño”-are almost outdone by the Goblin-like freneticism of his delivery. In his early years, Tyler could be something of an edgelord, delivering violent lyrics about sexual assault through a mischievous grin.
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