But the way-too-long “GONE, GONE / THANK YOU” (which contains a sample from former Smith Westerns frontman Cullen Omari) and Al Green-featuring album closer “ARE WE STILL FRIENDS?” play like tracks that missed the cut for Flower Boy, tracks that feel a bit too like sketches that were never fully fleshed out. “I DON’T LOVE YOU ANYMORE” and “RUNNING OUT OF TIME” both allow Tyler to showcase his skills behind the keyboard, particularly highlighting his now trademark minor key synth sounds that have been prominent throughout this career. Tyler attempts to up the ante on IGOR and he succeeds to a large extent. It’s what made Flower Boy such a masterpiece his ability to seamlessly fuse so many different influences into something unclassifiable and straight up gorgeous-“Boredom,” “See You Again” and “November” come to mind-led the record to be a “Best of the ‘10s” contender.
#Tyler igor free
He’s long wanted to shed his “rapper” label and extend into a more genre free space, simultaneously encompassing of jazz, pop, R&B, and indie rock.
The slowthai-aided “WHAT’S GOOD” largely follows suit, proving that he can make hard-hitting hip-hop better than almost anyone else.īut that’s not what Tyler wants.
IGOR hits its stride when it embraces heavier, more menacing instrumentals, particularly on “NEW MAGIC WAND,” which features a beat change that ranks as one of the best of the decade, rivaling that of Kendrick Lamar’s frenzied conclusion to “DNA.” It’s one of the more traditional-leaning rap moments on the album (Tyler warned us to not “go into this expecting a rap album”), but some of the best tracks on IGOR are when he does give into these tendencies. Perhaps the Yeezus to Flower Boy’s My Beautiful Dark Twisted Fantasy, he continues to push the themes of loneliness and his inability to be fully loved found on his previous record, only this time largely twisting the knobs in a louder and darker direction. Relying on heavy, ominous low synth tones and complex percussion-a combination that’s featured prominently throughout the album-the mainly instrumental song is a bit of a change up from his past work, essentially combining the best aspects of Cherry Bomb with the emotionality and relative absence of Tyler’s rapping presence on Flower Boy to create a hangover record of sorts from the flamboyance of his last record. On “IGOR’S THEME,” the opening track on Tyler’s highly anticipated follow-up to Flower Boy, he shows that even with the heightened expectations, he can still surprise us. A beautiful record with an extremely surprising amount of heart, the 2017 release seemingly came out of nowhere, launching Tyler into a different musical stratosphere entirely, one where he became a universally respected capitol-A artist.
#Tyler igor full
His violent imagery and controversial homophobic lyrics following suit soon after.īeginning with the Death Grips-inspired chaos of 2015’s Cherry Bomb, a record that toned down the adolescence of Bastard and Goblin without fully doing away with it, Tyler began to show his willingness to change and evolve, something put on full display on the soon-to-be (if not already) classic Flower Boy. Largely gone are the childish hijinks that accompanied Odd Future’s rise to infamy. Ever since Tyler, the Creator left his fictional therapist’s office at the end of 2013’s Wolf, he’s become a radically different person.
0 kommentar(er)
