Tyler the creator albums mac#

The drums on “SMUCKERS” are so fucking dope. The bounce unlocks during Jaden Smith’s chorus, an adroit move that highlights how perfect his voice fits within Tyler’s musical stratosphere. And while that’s all well and good, the way “Pothole” envelops the poplockin’, c-walkin’ ethic of the Westside while still feeling like a ride around record is just infectious. When Flower Boy dropped we knew it would be something a little different from Cherry Bomb considering the press surrounding it, as well as Tyler deciding to come out as a queer man prior to its release. She’s damn near rappin’ in the cut, double-timing the whole note synths and swangin’ bass lick that make up this simple yet effective track. Luckily, Kali Uchis is much more melodic than that electronic slowed out trip. It’ s almost like the kid was listening to XXYYXX’s “About You” and wanted to make a head-knocking version. Let’s just say, it’s hard to see an IGOR without an “IFHY.” “IFHY” represented the turn from self-aggrandizing to psychoanalyzing his patterns of love and making that introspection plain. This was also a celebration of transition. What’s really remarkable is how the duality of his personality - a trait that fans have seen since his earliest work - shows up here but in a toned-down fashion. Much like “Who Dat Boy,” “IFHY” is another standout moment in poppiness that doesn’t betray Tyler’s overall purpose and aesthetic. The slinking synths, twinkling keys, selective sampling, and idiosyncratic chord progressions are all done with such a rich seamlessness it had to be included. But “PartyIsntOver/Campfire/Bimmer” is more a moment where the best of his productive chops come together. Even the off-kilter drums that we know Tyler for aren’t really present. Nothing that says this is a moment of productive growth outside of the fact that there is a clear beginning, middle, and end. To be fair, there isn’t too much in the way of unconventional Tyler stuff here. This that ride around the city, voice blaring into the night air, pining for your lover music.

Tyler the creator albums mac#

But here, those movements are told through a small skit that suddenly dovetails into a completely sparse bridge with a Mac DeMarco namedrop, before skying once again toward its closing moments.

By this point - around the Cherry Bomb era - we have a general idea of the direction Tyler’s music might swerve into. When that bass drops around the 2:40 mark and the emcee takes off with the raps, peep the twinkling xylophones boppin’ in the background. In one of the many songs where Tyler invites his boo to do donuts in the coupe (he and Frank truly dig this love language), “2seater” lengthens and evolves the jazzy progressions of “Treehome95.” The difference here is that the densely layered musical canopy is less neo-soulish and more lush. This is new, this is fun, but it’s so very Tyler. He opts against lyrical ridiculousness and instead heightens our sonic anticipation only to slightly subvert it with resounding instrumental flourishes. A guitar riff pops in a little later with that same sort of kinetic improvisation that Tyler’s honed over the last couple of years. And while there might not be some inherent meaning to that portion it just sounds dope as shit. There’s a completely random moment - a little more than a minute in - where the song drops out and Tyler sprinkles his fingers over keys.

From the Ponderosa Twins “Plus On” sample - a la Tyler’s musical hero Yeezy, who used the sample in “Bound 2” - to the slight robotic modulation in Tyler’s voice, this song just feels extremely right. Makes it feel like we’re a lot less alone than we are which, as the next entry will show, are feelings that Tyler deals with on a pretty regular basis.Įverything about this song is rather fire. Not to mention, I’m a big sucker for call-and-response portions in the middle of a record. His old Odd Future buds have grown so used to finding the cut within OF’s programmed drums, it only made sense for it to sit on this list. “Palace/Curse” is one of the most versatile records on The Internet’s Ego Trip, both for its midway switch up and its ability to bend into a break up record, party jam, and slowed out love song. Our first entry wherein Tyler’s ear for sexy chord progression bears magical fruit. It’s an example of the kid scaling back the lyrical shock and awe, and imbuing that ethic in the music itself. In a hip-hop world dominated by swampy trap, Tyler’s penchant cinematic sonics leans into that oft-trodden darkness without rehearsing the same sounds as his counterparts. “Who Dat Boy” feels like a landmark song that showcased not just Tyler’s adroit horror film hip-hop techniques - plucky strings and low rumble synths could’ve been a Get Out B-side - but also his pop viability.