Call me if you get lost id maker3/1/2024 In 2019, he released IGOR, his most mood-driven, soul-baring work to date.Hillary Frey Why I Hope The Golden Bachelor’s Coolest Contestant Doesn’t “Win” Tonight Read More Like Kanye and Pharrell before him, and artists like the BROCKHAMPTON collective after, Tyler represents a new chapter in hip-hop, toying with identity and sexuality, and drawing on influences-skate culture, therapy speak, the kaleidoscopic weirdness of life on the internet-that help to expand rap’s vocabulary while still keeping continuity with the past. ![]() Meanwhile, he’d found the time to create not one but three television shows (Loiter Squad, Nuts + Bolts, The Jellies), launch a vibrant streetwear line (Golf Wang), and spearhead an annual festival called the Camp Flog Gnaw Carnival. It ended up being nominated for a Grammy. ![]() In 2017, he released Flower Boy, an album whose vulnerability and eclecticism represented a major step up-a maturation from young punk to complex young man. Wolf (2013) and Cherry Bomb (2015) explored similar psychological territory with increasing nuance his productions got more sophisticated too, exploring soul-jazz (“FIND YOUR WINGS”), Latin music (“Tamale”), and ’90s R&B (“Awkward”) in ways that were both discordant and colorful, a full rainbow of bad feeling. ![]() “And when she gives you lemons, n***a, throw ’em at pedestrians.”) Gritty, nightmarish, and barbed, the album established him as a kind of antihero: an artist whose bad reputation only made his fans love him more. (“Wow, life’s a cute b***h full of estrogen,” he rapped on the title track. Influenced by the grab-bag eclecticism of Pharrell Williams and his own tirelessly messed-up inner monologues, his official debut, Goblin, came out in 2011. Raised in Los Angeles County, Tyler (born Tyler Okonma in 1991) started experimenting with music in his early teens, co-founding the Odd Future collective in 2007, a group whose members included fellow iconoclasts Earl Sweatshirt, Frank Ocean, and Syd Tha Kyd. Within a few years, he’d evolved into one of hip-hop’s genuine polymaths, a self-contained brand who not only rapped, wrote, produced, and art-directed, but designed clothes and created television shows whose vision-violent, surreal, sarcastic, and disarmingly introspective-captured the id of an audience who didn’t know how to relate to their feelings but weren’t going to keep them in any longer. When Tyler, The Creator first started gaining national notoriety around 2008, it would’ve been easy to dismiss him as cheap shock-a snotty kid willing to push every button (mass murder, rape, cannibalism) just to get a little attention. IGOR's guests include Playboi Carti, Charlie Wilson, and Kanye West, whose voices are all distorted ever so slightly to help them fit into Tyler's ever-experimental, N.E.R.D-honoring vision of love. “IGOR'S THEME,” the aforementioned “I THINK,” and “WHAT'S GOOD” are some of Tyler’s most danceable songs to date, featuring elements of jazz, funk, and even gospel. “I think I’m falling in love/This time I think it's for real,” goes the chorus of the pop-funk ditty “I THINK,” while Tyler can be found trying to "make you love me” on the R&B-tinged “RUNNING OUT OF TIME.” The sludgy “NEW MAGIC WAND” has him begging, “Please don’t leave me now,” and the album’s final song asks, “ARE WE STILL FRIENDS?” but it’s hardly a completely mopey affair. Within it, Tyler is almost completely untethered from the rabble-rousing (and preternaturally gifted) MC he broke out as, instead pushing his singing voice further than ever to sound off on love as a life-altering experience over some synth-heavy backdrops. ![]() The impression Skateboard P left on Tyler was palpable from the very beginning, but nowhere is it more prevalent than on his fifth official solo album, IGOR. From the outset of his fame-or, in his earliest years as an artist, infamy-Tyler, The Creator made no secret of his idolization of Pharrell, citing the work the singer-rapper-producer did as a member of N.E.R.D as one of his biggest musical influences.
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