All of the missing father emotions and complex storytelling were interesting in their own Slim Shady kind of way, but they would clash pretty heavily with the evolution of his beats here. The first is ditching the meta-narrative of Tyler communicating with his therapist and weaving in fictional stories blatantly inspired by his real issues. Tyler’s got more variant covers for his new album than an Image comic in the nineties. There are two big departures that set Cherry Bomb off in its own direction from the trilogy that preceded it. This may sound blasphemous to some, but in terms of raw, compositional power, its heady mixture of jazz, funk, and R&B rivals the soulful production of To Pimp A Butterfly in terms of experimentation and verve. As it stands, this new album is an impressive one, but it feels more like a step in the right direction than an arrival.
#Crowntakers weavers full#
He’s been threatening to release a rap-less album full of instrumentals for years now, and honestly, if this had been it, it’d be a stiff competitor for album of the year. Sonically, Cherry Bomb continues that expansion of Tyler’s production repertoire. Wolf felt like a big turning point for Tyler, not only musically, as his gifts as a producer have increased with every project, but lyrically, where at least the prologue for some much needed maturation felt present. “Analog” fans are getting sick of the rapeĪll the “Tron Cat” fans are getting sick of the lakesīut what about me, bitch? I’m getting sick of complaintsīut I don’t hate it when I’m taking daily trips to the bank
One doesn’t excuse the other, though, and Tyler summed up the ongoing struggle well on “Rusty,” arguably the best song on his last album, Wolf: For every track that propagated violence, sexual or otherwise, there was a sweet, chilled out ballad clearly meant to balance it out. The schism between lovable music nerd and misanthropic button pusher has become more pronounced with each release, as The Tale of Two Tylers became a literal narrative throughout his trilogy of concept albums, and the styles inherent in each approach began to segregate between songs. Tyler’s always been a “walking fucking paradox” even before giving himself that moniker on Goblin‘s lead single “Yonkers.” Just look back to his debut, Bastard and its stand-out cut “VCR/Wheels,” Tyler’s shockingly adroit interpretation of early nineties R&B tropes that’s classic status will forever be tarnished by his teenage obsession with rape imagery and shock culture. This time, it’s Cherry Bomb, the fourth LP from Odd Future band leader Tyler, The Creator, but its thirteen tracks offer a lot more surprise than the proximity of the release date to the initial album announcement. You guys, Tyler saw the new Mad Max trailer, too! (Still from the “Fucking Young/Deathcamp” video.)Īnother day, another “out of nowhere” album release.
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