Tom Talks #13: Tyler, The Creator-CALL ME IF YOU GET LOST (A Bit of the Old and a Bit of the New, But the Same Old Tyler)

 

Hello folks and welcome back to another Tom Talks, where today's topic of discussion is the new album from Mr. Tyler, The Creator. Tyler blew up off his 'Bastard' mixtape and debut album 'Goblin,' which while well known for the highly controversial, early Eminem type lyrics, (*cough 'Tron Cat' cough*) the tackling of mental health and the abandonment Tyler felt by his father, showed there was more than meets the eye and indicated the talent and potential in his hands.

'Wolf'' moved away a bit from these more controversial tones, but the relationship focused tracks just weren't as interesting and the album didn't flow as well. We then got even less focus on 'Cherry Bomb,' an explosion of different ideas and mental production, that gave us some of Tyler's best and worst material and for me a middle ground between the what had come before and the artist at present.

This more soulful and jazzy sound was even more present on 'Flower Boy,' as Tyler appeared to have matured in sound and lyrics, detailing his sexuality and the struggle to be himself whilst famous. But his next LP 'IGOR,' truly changed things up with an entire album dedicated to a tumultuous relationship between Tyler and this man, which saw an almost complete move away from Rap, with R'n'B and Pop the main influences behind this very emotionally mature piece of art.

Now after winning a Grammy for his previous work, the former leader of Odd Future is now at his most famous, which he explores on this project, alongside wealth and forbidden love. With a return to his more Hip-Hop influenced roots, whilst maintaining the chilled vibe of his last two record's, the Creator has gone full circle, taking influence from the old and the new, creating some of his best material to date.

The story of the album is introduced with 'SIR BAUDELAIRE' that shows this character as a cool dude, just chilling and living the rich lifestyle, over this smooth summery beat, enhanced by the horns. DJ Drama also introduces his role as the hype man for the record, like it's an old-school mixtape, bigging up the character of Tyler Baudelaire and taking on those who critique him. Drama does this throughout the project and it works well, not outstaying it's welcome.

Following this introduction, we delve a bit more deeper into this character on 'CORSO,' with the sinister piano, bombastic drums and funk production grabbing the listeners attention. Tyler goes into detail about this relationship with a women who's committed to someone else and the bitterness he feels towards her partner, emphasized in the line "I hope when they fuckin', She still thinkin' of me." You can hear the grit in his voice, like in the more emotional cuts from 'Goblin,' highlighting this cool guy persona is just a mask for an insecure person, who spends money to take his mind off the fact he cannot have this woman to himself.

We then get something a bit more intense on 'LEMONHEAD' that reminds me a lot of 'Bitch Suck Dick,' with the rising orchestral horns and skittering drums, matching the crazy energy of the man who once did the same on Odd Future records. 42 Dugg does his thing, as both guys rap about the money and women, leading into the more braggadocio side of this character, giving us a banger to change up the vibe. 

The formula then switches up again with the 90's R'n'B sound of 'WUSYANAME,' with the smooth production and Ty Dolla $ign vocals sounding crisp and proving to be an earworm with the listening public. This is probably the closet we get to the 'IGOR' sound, with Tyler and YoungBoy Never Broke Again wanting to please and do what they can for the girl they love, valuing her over the money. It's been the biggest hit from the album so far and with it being more catchy then a Chlamydia, you can see why.

The lead single 'LUMBERJACK' was a solid Tyler banger upon first listen and upon further inspection, it plays more into the braggadocio of Baudelaire. He uses metaphors like "Whips on whips, my ancestors got they backs out," to highlight the changing situation of a black man in America and how far he's come since he blew up off 'Yonkers' and that he's no longer a weirdo like "that boy from Malcolm in the Middle."

Calmness and serenity are felt by the classy feel of 'HOT WIND BLOWS,' with the flute sample really making you feel like your on holiday with Tyler, as he explores various destinations like he's in 'Breakfast at Tiffany's.' Both he and Lil Wayne (who I must say is sounding hungrier then I've heard him in a while) chat about getting away from the press and the haters, allowing them to chill and take advantage of the luxury and all in all, it's a great summery atmosphere that really makes me want to get on the plane.

'MASSA' appears to continue this mood before building up the intensity with this Funky drum beat, as Tyler goes very introspective. In particular, there's a focus on how he matured at 23, which he attests to why there's a difference in sound and lyrics between 'Cherry Bomb' and 'Flower Boy.' You see the frustration, as he discusses people being mad at him for being famous, while referencing back to having to hide who he was; "Everyone I ever loved had to be loved in the shadows." For me this is our protagonist at his most personal and it shows how far he has emotionally matured in himself and his music.

The weakest on the album is 'RUN IT UP,' which sees an attempt at a Trap banger, that is decent and does touch on proving the doubters wrong and materialism, especially with Drama stating "For us, the sky is just what we stand on to reach the beyond." It's nice to hear about him being able to get his mom to a safer area, but the production could be more inventive and it's just quite monotonous as a whole.

Old Tyler energy returns at the start of 'MANIFESTO,' as Tyler takes a cheeky swipe at white girls having a go at him for not always openly promoting his support for Black Lives Matter. (the irony seems lost on these girls.) There's quite a sinister feel to this track, brought upon by the echoing choir vocals, in particular in Domo Genesis' verse where he accounts people not wanting him to succeed due to being black. Tyler also hits out at cancel culture, which he was a victim of in particular when he was banned from the U.K. by Theresa May and states "So I just tell these black babies, they should do what they want." Tyler is clearly comfortable in himself and seems to take a shot at homophobic religious groups with the line, "let them serpents rattle, baby," which relates to the story of Adam and Eve. There's a lot to digest on this track and it shows the growth in Mr. Okonma as an artist and person.

As with all his albums, Track 10 is a collection of songs put together, with part 1 ('SWEET') seeing Tyler trying to get the girl to leave her partner, over this sweet and flowery R'n'B beat, with Brent Faiyaz giving us his usual crisp vocals to add that extra bit of seasoning. This one does remind me of 'Find Your Wings' from 'Cherry Bomb,' showing once again the inspiration from prior LP's. We then get part 2, ('I THOUGHT YOU WANTED TO DANCE') which really mixes it up with the Reggae/Dub sound that sees Tyler believing she doesn't love him, like he does her. The song is a back and forth between both parties as Fana Hues takes on the female perspective, claiming she never meant to lead Tyler on and does feel something for him, but isn't sure about a relationship. While I prefer the second half of this track, it's a solid listen and to keep me interested in this relationship drama for 9 minutes, is a win in my eyes.

We take a quick detour with the humourous 'MOMMA TALK,' that shows the love Tyler's mom has for him and how she used to threaten his bully's, which is rare for a skit these days to be as entertaining as here. The album then transitions into 'RISE!' that sees Jamie XX collab with Mr. Creator for a West Coast sound with that usual Tyler twist. He again addresses people like himself hating on his change in direction or becoming rich, with clever wordplay like "They tried to boycott him but he didn't dim." With a sprinkling of vocals from DAISY WORLD, we get a slick track that ends with Tyler calling on his lover to stay taking us back to the arc of Mr. Baudelaire.

Another quick skit see's Tyler brag about the success of his Golf store and how he's 'BLESSED,' despite wanting someone to spend his wealth on. This wealth talk continues into 'JUGGERNAUT' with the influence of Mr. Pharrell Williams, giving listeners the N.E.R.D sound, blended with a trap banger. Tyler, Williams and Lil Uzi Vert are perfect for this bragging match about money and clothes and it truly is sensational stuff!

The full details of the relationship, which has been the main storyline of this album is revealed on 'WILSHIRE,' with the subtle keyboard and drums fitting the confessional lyrics. It details Tyler falling for her beauty, despite it being his friend's girl which adds to the drama of the story. Deep down he knows that what's been going on is immoral, but there is clearly a love for this woman, with an attempt to keep her by going on trips together and spending money on this person, to no avail. The track ends with both lovers in tears, remaining friends and a sense of feeling lost and Baudelaire worrying he'll never have a connection like this again. While Tyler has invented a character for this album, this is nevertheless a sad and emotional moment for him, leading me to theorise this may not just be a fictional anecdote. Needless to say, it closes this arc of the project expertly and in great detail.

'SAFARI' ends the record on an upbeat note, with this nursery rhyme type instrumental mixed in with a flute and deep piano notes, as Tyler recounts his love of holidays, maybe in reference for what he plans to do once the pandemic is over. He seems to be at peace with himself by this point and in a good place, despite the events of the album and after the heartache experienced on these last two albums, that is good to see.

'CALL ME IF YOU GET LOST' seems to be about Tyler feeling lost and finding himself, a journey he has been on all his life and musically since the release of 'Bastard.' Despite the sorrow his character has experienced on this project and the hate he has received in real life for being himself or being successful, he has come out the other side.

Tyler has took influence from his past, as well as from genre's we've never seen him delve into like Reggae, to create possibly his best album yet. 'RUN IT UP' is the only real stinker in the track list and while the rest vary in how good they are, I cannot deny the quality on display. The chilled, summery vibe is perfect for this time of year, while the content of this doomed relationship, interspersed with travel and success make for an intriguing journey and one I will definitely be returning to again.

8.5/10

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