Release: Wolf
Release Date: April 2st
You would struggle to describe Tyler, The Creator as mature. Especially with lines like “Mama done made her one, a witty son/ with no respect for women, so, so, show me your titties hun/” But with new album Wolf, the cockroaches and rape victims are left in peace. Instead, he focuses on strong, honest storytelling.
After a false start from the by numbers ‘Jamba’ the album really starts with ‘Cowboy’. A subdued instrumental, with a snare drum playing more roles than it’s used to. Tylers’ raps about fame and loneliness are nothing new. But his mellow performance gives the song a much needed realism that other attempts lack. The honesty continues on Awkward. A song about a failed relationship that surprisingly doesn’t end with a rape, murder or any form of the misogyny you’ve come to expect. The lyrics are honest and open, without irony or a wry wink to the audience. This sets the tone for the middle section of the album.
A 28 minute block of honest, emotional music, that sees Tyler push the boundaries of what is expected of him. Tyler’s songwriting has graduated from the simple verse, chorus, verse, chorus structure. Now you’ll find ballads that could easily sit alongside any 90’s r & b act, without losing credibility. The album also shines the spotlight on his improved production skills. Every song doesn’t have a vicious sore throat rap on it. He’s aware of melody, and knows how to use it. On ‘Partyisn’tover’ he merely sings a refrain over a lush instrumental. On ‘Treehome95’ he takes a complete back seat. Allowing guests Erykah Badu and Coco to do the majority of the heavy lifting. He caters the music to suit them, displaying the ease with which he can switch gears. This hints at future collaborations and potentially working outside his genre.
This section is mostly spearheaded by NERD rap icon Pharrell. Pharrell’s handprint is blatant, with some songs even sounding like early N.E.R.D. albums. However Pharrell‘s singing on IFHY fails to connect. Where he can add his trademark falsetto to most rap tracks, anyone outside Frank Ocean on a Tyler track sounds forced.
After a while the summer breeziness of the laid back beats can all blend into one. Especially with familiar subjects that have plagued previous albums, as well as songs turning up. The album struggles to hold your attention, but eventually regains its composure on ‘Pigs’. The album keeps the dark moments few and far between. But this only makes these moments more potent. Rapping over a bleak instrumental from the perspective of a paranoid outsider. The song is more threatening than any amount of comedic misogyny.
But two years is a long time, and although he can still churn out the racial slurs and rape jokes, he struggles to sustain it over the albums 70 minutes. Domo 23, although catchy, feels forced. Tamale is fun but is just that.
‘Analog” fans are getting sick of the rape/
All the “Tron Cat” fans are getting sick of the lakes/
But what about me, bitch? I’m getting sick of complaints/’
Tyler is at his strongest when he’s at his most honest. And with many admirable efforts, he’s at his best on album closer ‘Lone/Jornada’. He retreads familiar ground on the first two verses discussing his issues with fame. But it’s the frankness with which he talks about the death of his grandmother on the third verse, that you’ll struggle to hear rhyme patterns on your first listen. The candor is so immersive; it devolves from a song to being stuck in a room with a person trying to figure out how to grieve. It almost completely lacks performance. Where a sad song, has a sad verse, Tyler feigns indifference that slowly begins to unravel. It’s easily the albums strongest moment, and from a person who has grown a fan base from pantomime rage, this song feels like his first honest moment.
So the kids in need of something to rage against will be disappointed. But those with Tyler for the ride will relish this open, and more honest insight into his life. Cockroaches or not.
7/10
