‘Call Me If You Get Lost’ is a True Creative’s Vision Fully Realised
Reviewing the LA native’s latest project.
Tyler, the Creator’s sixth studio album presents a carefully cultivated sound combined with vivid, luxurious visuals that one might find in a Black-ass Wes Anderson film. The theatrics run parallel to the tasteful narration and intentional amateur mix found on a DJ Drama Gangsta Grillz tape.
It’s a truly immersive listening experience that touches on nearly every aspect of Tyler’s creative profile and introduces us to his newest persona — Tyler Baudelaire.
“I hate people who hype shit for months. I think now people feel obligated to always let everyone know what the fuck they’re doing.”
The LP was released with little build-up. If you exclude a few teaser videos and the odd promo billboard or two, the album stayed true to Tyler’s Igor-era sentiment of not letting anticipation for a project run loose.
In terms of actual music, though, this project was a shift back to the things that made fans flock to Odd Future shows over a decade ago—the bars. Equal parts vulnerable and braggadocious, CMIYGL is very much a rap dominated album that combines the ground-breaking experimental production we’ve seen from him in more recent years with the lyrical prowess we’ve always known he’s had.
There are multiple points in CMIYGL where Tyler returns to the familiar sounds of his Wolf and Cherry Bomb eras. Tracks like “CORSO” and “JUGGERNAUT: take the listener back to the happily ignorant lyrics and eclectic drum breaks that separated Tyler from the pack in the mid-2010s, and “SWEET / I THOUGHT YOU WANTED TO DANCE” could fit comfortably on a deluxe version of Cherry Bomb.
Even with these similarities, it’s impossible to talk about CMIYGL without touching on how Tyler uses the album to expand the scope of his artistic umbrella while welcoming some unexpected artists under it. 42 Dugg on “LEMONHEAD”, NBA Youngboy on “WUSYANAME”, Teezo Touchdown on “RUNITUP”, and Lil Uzi Vert on “JUGGERNAUT” each fit effortlessly into Tyler’s musical vision without sacrificing any of the qualities that make them great on their own.
Tyler, the Creator in 2021. Image property of "Luis Panch" Perez and Tyler, the Creator.
There is also a jazzy, elevator music-ish, Cal Tjader-esque sound present throughout the album, inspiring visions of grandeur and international travel. ‘SIR BAUDELAIRE’ and more so “HOT WIND BLOWS” are fresh, ear-tickling tracks that sound like nothing Tyler has ever put out before, highlighting his continual growth and willingness to experiment as a producer while showcasing his renewed commitment to spitting.
It’s evident that Tyler had some things to get off of his chest, musing on race, love, and politics more deeply than he arguably ever has before. “MASSA” details his rise to fame and the subsequent realisation that he can afford whatever he wants yet still yearn painfully for a love he can never really have. “WILSHIRE” gives some brutally honest specifics about his failed love affair with another man’s girlfriend.
The interlude “MOMMA TALK” is notable for providing Tyler's mother with the opportunity to speak her peace on her son's successes and his upbringing. Listening to the skit shows that Tyler's vocal inflexion, speaking voice, and attitude all come from her. It's actually scary how similar they sound. Nonetheless, this skit doesn't flesh out Mr. Baudelaire but rather the man behind the character.
“MANIFESTO” calmly addresses his old Goblin-era tweets while also delivering a more aggressive challenge to the white fans who flocked to his post-Flower Boy shows and put forward their disingenuous solidarity during the numerous instances of extreme police brutality in the US in the summer of 2020. Those tracks essentially serve as Tyler’s space to vent, to boast, and to truly contemplate his position as an unconventional Black man in the entertainment world.
The only drawback of the project is the audio mixing. As said prior, the mix is intentionally emulating a classic 2000s DJ Drama tape. However, the weird record static and auditory imbalance is felt on tracks like “RISE: and “WILSHIRE” in particular, where it distracts from the song's overall quality.
Whether you’re an Odd Future OG or a late bloomer, you have to admit that Call Me If You Get Lost is Tyler, the Creator is at the peak of his powers. There’s something for everyone on this album — mesmerising beats, wildly advanced bars, festival anthems, and perfectly placed features. Tyler has truly brought all of the good things he’s done before together into one cohesive, outstanding, and raw project. If Igor was Tyler’s 808s & Heartbreak, Call Me If You Get Lost is his My Beautiful Dark Twisted Fantasy…
Album Highlights: SWEET / I THOUGHT YOU WANTED TO DANCE, WUSYANAME, CORSO, WILSHIRE, HOT WIND BLOWS and MASSA.
9.5/10
Stream the album here.