I was the only one that seemed to notice. He had completely black eyes, and everyone seemed indifferent to the situation. We started talking a bit, and the next thing I can remember is him chasing people. He started talking to some people, then, he walked towards me. Someone taps me on the shoulder and points at Tyler. I was on the football field, the place was crowded. I know I've had many, but I can only remember three. I've been having recurring dreams involving the famous artist Tyler, The Creator.
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Igor is a heartfelt album that finds Tyler lowering his guard and revealing himself to be a shape-shifting artist who is still growing, and who has fully shed his skin as a vulgar internet cowboy. Across IGOR, he achieves a happy balance by tempering his wonky song structures bordering on the surreal and dogged pursuit of synthgasms with a clear narrative arc and careful calculated swerves in tone and texture. the version you hear is the 9th one, kept going back until it was PERFECT.” No matter how obnoxious and pedantic this bridge-talk is, Tyler’s pride in his meticulous production is well-earned. “if u know me i can be annoying with talks about bridges and progressions so im hyped its people who care. “Man having random folks walk up to me telling me about the bridge on I THINK gives me so much joy,” Tyler tweeted upon the album’s release. (By contrast, Kanye West’s sorry guest turn on “Puppets” sounds like he recorded it by moaning indiscriminately into a tin can.)īy couching his vocals deep in the mix, Tyler is basically saying that he sees himself as producer, singer, and rapper, in that order. The first moment on Igor that could be described as a “verse” doesn’t arrive until halfway through the second track “Earfquake,” when Playboi Carti seizes the mic and lets his marvelous baby voice fly. Instead of constructing songs around catchy hooks and brisk 16-bar verses, he revels in pregnant pauses, stops frequently to repeat lines several times, and generally lets himself falter and stumble blindly across the middle ground of the album’s lush production, which is characterized by thick, buzzsaw bass lines, glittering arpeggiated synths, and juicy neo-soul harmonies. Tyler eschews his raspy baritone and operates on a spectrum between an imitation of Pharrell’s squeaky falsetto and pitched-up, droopy-eared Eeyore raps.
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Rather, it exists primarily to serve the album’s zany vocal experiments. Tyler’s story about navigating his crumbling relationship feels rendered in earnest, but it’s hardly the centerpiece of IGOR.