![]() The eight-and-a-half minute long “Wilshire” is where the two collide. There’s a second, parallel narrative at play, too, on “Call Me if You Get Lost,” which in places reads like two separate albums born of the same circumstances tugging at each other - one about how carefree and privileged Tyler’s success has made him, and the other about how all of those spoils don’t add up to much without love. The frictive juxtaposition of Drama shrieking “Gangsta Grizzzzillzzzz” while Tyler is speaking about keeping picnic blankets in the car - it’s both homage and disruption. Tyler’s resuscitation of an aesthetic that was likely formative to him is both a calculated nod to the hip-hop community that couldn’t quite place him early in his career, and also a tweak to the puffed-chest energy of that era. The album is structured in the manner of one of DJ Drama’s essential mid-2000s Gangsta Grillz mixtapes, with Drama himself barking over each track, weaving in between Tyler boasts. “Y’all don’t understand, fish so fresh that you could taste the sand,” he boasts on the lush “Hot Wind Blows.” On the gloomy and stomping “Lumberjack,” he emphasizes the depth of his independence: “I own my companies full, told ’em to keep the loan.” Mostly, he’s preoccupied with the lifestyle that success has afforded him, but even though the subject matter can be repetitive - there’s lots of Rolls-Royce mentions, lots of discussions of passports - he delivers them with the shock of the new. “Call Me if You Get Lost” is Tyler’s sixth album. A tauntingly good hip-hop album, or a rewiring of pop DNA: “Call Me if You Get Lost” has it both ways. But it also demonstrates the pop potential of Tyler’s now-signature approach to hip-hop, the way his post-Pharrell embrace of chords and melody is in fact in conversation with 1960s pop, French chanson, and acoustic soul and funk. It’s as thoroughgoing a rap album as Tyler has released - rarely has he been this keen to flaunt his bona fides. 1 album in the country - is the logical rejoinder to both of those obstacles. ![]() And the boisterous, sometimes scabrous, and persistently energetic “Call Me if You Get Lost” - currently the No. It was also a testament to the way he harnessed the power of the internet and built a vision from whole cloth, selling it to millions without much intersecting with the systems constructed to do that. Speaking to the press backstage, he expressed frustration at the narrow ways in which Black artists are celebrated at the Grammys, calling his nomination in the rap category, for a deeply musically diverse album, “a backhanded compliment.”īut the attention focused on that comment overshadowed what he’d said onstage when he received the award, which was that he was grateful for his fans’ support, because, he confessed, “I never fully felt accepted in rap.”īlockaded on both sides, Tyler nevertheless emerged victorious, an acknowledgment of the sheer force of the vision he’d built for a decade as the de facto macher of the Odd Future crew. In January of last year, Tyler, the Creator’s “Igor” won the Grammy Award for best rap album.
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