Dr. Frankenstein meets his therapist
by Jericho Cerrona
Tyler, The Creator is no stranger to contradictions. His post-Odd Future output has been both alienating and inviting; culminating in 2017’s Grammy nominated Flower Boy; an album many think is the most mature work of his career. Earlier albums like 2013’s Wolf and 2015’s Cherry Bomb may have felt like abrasive demos at the time, but in retrospect, they signaled the emergence of an artist who knew exactly what he was doing. At only 28-years-old, Tyler is undeniably talented, and many will claim his latest LP, IGOR, contains his best and worst tendencies; oscillating between moments of melodic bliss and lo-fi production. Honestly, it’s simply another addition to Tyler’s growing narrative of self-discovery.
Yes, IGOR is a breakup album, and yes, it features the requisite tales of heartbreak and loss, but it’s also attuned to the idea of gracefully bowing out when things have clearly reached the end. Throughout the album, Tyler embraces an alter-ego who seems to be viewing a disintegrating relationship from afar. It’s an understandable process for dealing with heartbreak—using an avatar who can voice sentiments locked inside—and this motif plays out over a series of tracks which range from mid-tempo breakup ballads like “EARFQUAKE” to therapeutic stompers such as “NEW MAGIC WAND”. Elsewhere, on cuts like “RUNNING OUT OF TIME”, Tyler seems genuinely interested in the betterment of his ex, complete with the closing lines You never lived in your truth/But I finally found peace, so peace.
There’s a loose, almost psychedelic vibe to IGOR which may turn off those who fawned over the bright accessibility of Flower Boy. The neo-soul production and Neptunes-inspired arrangements from that release are less prominent here, poking out mostly on slower R & B-tinged tracks like “A BOY IS A GUN” and the Kayne West-featured “PUPPET”. The use of wonky synth lines, low end bass, and metallic percussion are all over IGOR, to the point where an early 80’s inspired post-punk album very well may be in the near future. The best moments here combine Tyler’s skills with harmony (the “for real/for real/for real this time” refrain from EARFQUAKE comes to mind) and the menacing sounds of gutter hip-hop ala WHAT’S GOOD. Additionally, there’s a surprising beat change on NEW MAGIC WAND which continues Tyler’s obsession with pushing his songwriting beyond what is expected in the genre.
In the past, Tyler's ambitions have gotten away from him, particularly on 2015's Cherry Bomb, which boasted way too many sonic ideas than he could possibly fit into one cohesive project. Flower Boy was a deconstruction of his public persona as well as a radical attempt to understand how much private longings should be made public. Behind all the controversial verses and ego-stroking seemed to be a forward-thinking artist interested in sincerity, and IGOR cunningly splits the difference between the emotional openness of Flower Boy and the low-end noise of his earlier work.
This combination works brilliantly; with Tyler’s often pitch-shifted vocals creeping under the mix along with a discernible lack of highlighting guest spots; with the likes of Playboi Carti, Charlie Wilson, Jack White, lil Uzi Vert, Solange, and others making brief appearances here. While IGOR lacks some of the emotional clarity and crisp production of Flower Boy, it makes up for it with attitude and soulfulness. In a bold move, Tyler resists the urge to layer his album with playlist fodder. Instead, the songs here deepen with subsequent listens as the lovesick narrative becomes more apparent. To that end, when Tyler sings Are we still friends? on the neo-soul closer of the same name, the implications are clear; Tyler may be lonely, but he isn’t defeated.