![]() There is something cathartic, for sure, about his emotionality on the chorus of ‘NEW MAGIC WAND’. Unfortunately, Tyler’s tedious jilted lover persona returns again on IGOR. ![]() I think this is what was so appealing about Tyler’s more intense and aggressive productions they give you a space, even if just for a few minutes, to totally lose your shit. My teenage gatherings are nostalgically resurfacing. ![]() The teaser video features a blonde-wigged Tyler flailing and a crowd of four or five youths flailing back. ‘NEW MAGIC WAND’ consequently arrives with a freneticism that is all the more sinister for its being contained. My interest is really piqued by ‘NEW MAGIC WAND’, which shows Tyler’s idiosyncratic energy resurfacing: it’s arguably IGOR’s answer to ‘Who Dat Boy’ or ‘Domo23’ but Tyler’s recent productions allow ideas to take a supporting role and not constantly jostle, as they have done on his previous records, for listening space. Tyler’s song writing has continued to progress since Flower Boy and ‘RUNNING OUT OF TIME’ and ‘GONE / GONE, THANK YOU’ demonstrate his ability to deftly abut on hip-hop, pop, and jazz through complimentary shades of convention and experimentation. The hooks on these tracks, and elsewhere on the record, are undeniable, however. ‘EARFQUAKE’ feels long even at 3:10 as it peddles out a single idea that feels aimless and, unfortunately, no matter how much vinyl crackle is injected, or how many times Tyler says “skate” and “fuck” underneath the beat, character on the verses of ‘I THINK’ is still lacking. NO CHECKING YOUR PHONE” – then we soon get treated to IGOR’s two most uninspired tracks back to back. FRONT TO BACK” – oh, and by the way, “NO DISTRACTIONS EITHER. But if we are, as Tyler has patronisingly instructed, listening “ALL THE WAY THROUGH, NO SKIPS. The opener sets the tone for a new, more concise, direction: the vocals and drums are fluid yet compact, and I’m making toast on the synth line. But I think all of Tyler’s then-fans, myself included, have to acknowledge that as much as Tyler has had to, as Ira Madison III puts it, “earn the right to penance”, we have to earn this with him by confronting the fact that by buying Tyler’s music, his brand, we were implicitly condoning his content – however naïvely. Every review of Tyler’s work acknowledges this past. “I don't know, we don't think about it, we're just kids”, he continued. Tyler tried to explain it away by substituting lyrical energies over content: he only used language that “hits and hurts people” the most, he pleaded. I think we were aware that this content was unacceptable, but it seemed murky at the time – or maybe we just didn’t want to own up to the fact. Listening back to Goblin, it is clearly disgusting and singularly myopic for a nineteen year-old to have been rapping about violence, sexual violence, and homophobia in the ways Tyler was, even while acknowledging that this was a performance, as he would so often stress. We were at the perfect age to be indoctrinated. But his denouncement, obviously, is the hallmark of someone who knows exactly what they are but can’t yet concede. TC, then Tyler’s regular voice irately declares: “I aint a fucking role model.” He’s talking directly to us, we think, and, to all the other fourteen year olds who had ‘discovered’ this subculture online and felt like they belonged to it. We press play on Tyler, the Creator’s debut album and stay silent, lying still.įirst we hear from Tyler’s psychotherapist alter ego, Dr. We downloaded the mixtapes, watched all the videos – the freestyles, the group antics – we have even made our own spin-off – logo brandished on phone home screens – and we’ve been looking at Supreme clothing, which of course we can’t afford. ![]() We are fourteen years old and Odd Future is everything. It’s May 2011 and me and my mate are lying side by side on my single bed.
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