Composition Tyler the Creator See You Again

Cloaked in a colorfully cartoonish, surrealistic aesthetic that sometimes drifts towards nightmarish, Tyler, The Creator and his music can often be boiled down to their obvious absurdity. His lyrics, equally well every bit his imagery, are rooted in exaggeration and childlike carelessness, but the albums he's released in the past couple of years verify a sure self-sensation and emotional maturity that I would debate, was always there. As his name would suggest, Tyler is always creating and producing something. He is the visionary backside everything he'due south ever released, and never seems to operate without a certain concept in listen. Though goofy and loud and audacious, it'southward clear from his music and his videos that Tyler is not above earnestness, sentimentality, or an appreciation of aesthetic beauty.

His 2022 anthology, Flower Male child, felt like a dream — not necessarily the fever dream of Cerise Bomb, but an introspective journey partnered with pastels and bumblebees. It's on this anthology that Tyler explores and plays with his sexuality, and peradventure unintentionally complicates the foundational aspects of masculinity we see so frequently in male rappers — in male artists in full general. In the undeniable hit "Meet Y'all Once more", Tyler places himself in a hyper-masculine setting, a far departure from the trampoline/donkey he jumps on in the "Tamale" music video or the terrifying dollhouse in "IFHY". It opens on a nondescript navy-esque transport in the body of water, where several other men march in great rows slowly to the vanquish. Tyler stands out in a yellowish beret and a floral jumpsuit, legs flailing as they march. Before the chorus hits, the men all stand to face up the camera and salute, while Tyler tilts his body slightly off-center and lazily sticks a hand to his forehead — feigning a salute, opposing the gesture. The balance of the videos from this record play with colors, contrasts, shadows, and impeccable special furnishings that requite this album its cinematic quality. It's all together thrilling, visually stunning, and allegorical of Tyler's burgeoning emotional odyssey.

With the credible awakening shown in Flower Boy, information technology only makes sense that Tyler's side by side anthology would exist an even bolder display of his emotional reckoning. Tyler'south 2022 album IGOR implements the same ruminative softness as Flower Male child, but with a sharper, more than impatient tone. Songs like "RUNNING OUT OF Fourth dimension" and "EARFQUAKE" hold a sense of urgency and frustration within them, despite their lovely, somewhat delicate composition. While Tyler croons over a soothing tune in "A Male child IS A GUN", his lyrics betrayal the harsh reality of a love lost to circumstance, a lack of understanding, and the ultimate heartbreaker: time. Gone from the cartoon globe he normally inhabits in his videos, "A BOY IS A GUN" places Tyler in a luxurious, cavernous mansion, crying out to a boy who's seen packing his bags and heading out the door. The sense of freedom that Flower Boy brought feels cut brusque in IGOR, as if a budding flower was plucked to be admired, only to die in your hands. His lyrics here are honest and brutal, and his videos once once more position him every bit the outcast, alongside vibrant people and places. All five stages of grief, with some nuanced extras can be experienced with IGOR: infatuation, loss, deprival, anger, low, bargaining, eventual acceptance, and even gratitude. Each song details a saga of loves lost and lessons learned — cut right to the heart as synths and horns pour around them.

On the heels of these securely transformative albums comes Tyler's latest masterpiece, Telephone call ME IF YOU GET LOST: an exhilarating blend of the aggression and tenderness that Tyler has mastered. Love, rejection, and the terrifying uncertainty that comes with opening your earth upwardly to someone else are all catalogued hither, amid his reliably intoxicating melodies. CMIYGL features an equal amount of optimism and cynicism, as he details a dearest story aslope musings about his career, his misunderstandings, and his heartbreak. In the video for "WUSYANAME", Tyler begins telling a story only gets sidetracked when a girl catches his attention. A curious courtship kickstarts what will ultimately be a complicated dearest matter for Tyler, equally he later reveals in "SWEET/I THOUGHT YOU WANTED TO DANCE" that their love for each other made them blind to their flaws. In "WILSHIRE" he goes into more than detail, how this relationship made him question his morals, his preferences, and his desire to go with the flow of the anarchy, despite the inherent urge to swim confronting it. This metaphor of fighting against the electric current is used several times throughout the album, and within Tyler's recent BET Awards performance we see a visual representation of this unrelenting struggle, as he makes his fashion through a powerful and violent windstorm. In many ways, this album is quite similar to Tyler'due south earlier piece of work — his anger, his otherness, his floundering through situations both mundane and complex are all on display. These themes are confronted, notwithstanding, by present-day Tyler, as he reflects on who he once was, and who he remains to be.

In that location's something eternally youthful about Tyler; his marvel never ceases and his rambunctiousness shows through his lyrics, too equally his imagery. Lovely colors, stylish figures, and dazzling destinations are staples in his music videos now, always presenting us with idealistic images that could but come from Tyler's mind. Videos from Blossom Male child, IGOR, and CMIYGL certainly feature some of the Tim Burton-esque qualities that divers Tyler's before manner, but he seems to have found a beautiful centre ground with his current aesthetic: somewhere between ridiculous and refined. The recklessness of Tyler's early sound seems and so distant from the cogitating sensitivity of Bloom Boy, IGOR, and CMIYGL, and from the human he's grown into. Though his early lyrics brand reference to control, coin, dissing other rappers — no dissimilar from the lyrics of his contemporaries — Tyler has never exactly been a soldier for the patriarchy. His tone, while deep and intimidating, has never seemed authoritative or controlling. Tyler is playful, erratically imaginative, and has deviated quite far from the expectations of traditional manhood. If he ever makes references to masculinity in his videos and lyrics, information technology is within humor or hyperbole — forcing us to face the hypocrisy of something held so sacred.

The music Tyler, the Creator has released in the past five years is the personification of his anxieties and triumphs, and a clear representation of his growing comfortability with himself. Even as his image shifts from provocative oddball to artistic softboy, it's wonderful to see Tyler'due south unique brand of "weird" remain intact as he evolves as a creative force. Through his journey as a rapper and maturing adult, hints of his influence can be seen in performers like Lil Nas 10, who through their music and imagery accomplish and then much more than just self-expression, but a brilliant and inspiring self-acceptance as well. We're unlikely to see Tyler's sense of humor or capricious attitude fade, but if his music is whatsoever indication of his growth every bit a homo beingness, I couldn't exist more than excited to see where Tyler's journey takes him, and the music industry.

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Source: https://film-cred.com/the-aesthetic-evolution-of-tyler-the-creator/