His latest record, Call Me If You Get Lost, details the life and times of Tyler Baudelaire, an eccentric and taste-making world traveller. Tyler’s titular character from his previous album, Igor, was more focused on the intricacies and pains of lost love–Baudelaire has his fair share of musings on this topic, but he also discusses his material wealth, and the growth and success that he’s worked for.​​ The beats are well-composed colllages of samples, chords, lead lines, and ad-libs. The music on Call Me successfully illustrates the world that Tyler Baudelaire has constructed for himself. It’s jazzy, sophisticated, and full of references to his world travels, but it also speaks to the vulnerability and pride that comes with being a renowned artist. 

The album subtly takes the listener on a journey through the narrative of Tyler’s feelings about a complex relationship. After “SIR BAUDELAIRE” introduces us to his new persona, “CORSO” jumps right into Tyler’s emotions on a girl. Albeit vaguely, he outlines his position succinctly, “Look, tried to take somebody bitch ’cause I’m a bad person/I don’t regret shit because that (woo) worth it/In the end, she picked him”. He then goes on to explain that it’s really alright, he can just purchase himself out of the pain that he’s experiencing. “WASYANAME” tells an idealized tale of meeting this girl, with Tyler asking her about herself and explaining to her in an almost breathless way how he’d seduce her. “SWEET/I THOUGHT YOU WANTED TO DANCE” is a reflective ballad that describes the mixed messages received from his object of affection. 

Most of these aforementioned songs give us glimpses of the full narrative behind this complicated affair. The penultimate track on Call Me, “WILSHIRE”, brings to light the complete details of the alluded to relationship, outlining it from start to end. It’s a rare moment in Tyler, the Creator’s discography, which he even points out, saying “I just try to keep anyone I care about in the shadows / Safe from the commentary and spotlight and thoughts / ‘Cause it’s just a story for the people outside of it / But I guess you’re just another chapter in the book”. The song is one of the most vulnerable of his career, calling attention to the complications of personal relationships and the frustrating intricacies of being a public figure. 

As much as this album discusses this particular romantic situation, it also takes a really close look at Tyler’s relationship with his fans. Inherently, being a public figure comes with challenges. People have expectations of you, your art, and everything else. Some want to be with you, others want to be you. It’s often easy to forget that our favorite artists are, in fact, human beings, and Tyler seems to be finding himself dealing with critics and fans that are inconsiderate of his personhood. On the other hand, fans are the very reason for his success–in some ways, he’s indebted to them for all that he has. “MASSA” recounts his humble beginnings and career, commenting on his early artistic output, pointing out how unfair it is that projects like Goblin are still held over his head. “MANIFESTO” tackles similar themes, addressing calls from the public to take stances on political hot topics.

“RISE!”, with it’s Stereolab-esque chords, juxtaposes the confidence of success and the fear of losing it all–the verses have a self-assured bravado, describing the hard work that success has required, but the pre-chorus reveals a nervous compulsion to beg people to “please don’t go, please just stay”. This plea for perhaps fans and lovers alike to stay by his side successfully ties together the two major themes on the album. Bragging is often a form of protection from emotional vulnerability–a concept that Tyler has played with on his previous two albums. In “911/ Mr. Lonely” off of Flower Boy, he muses “I say the loudest in the room / is prolly the loneliest in the room (that’s me)”, a direct call out of his own tendencies. 

Although he may be struggling with similar subject matter, Tyler the Creator’s artistic growth is indisputable. Album after album, he’s created a different aesthetic world to fall into–no small feat. It seems like he’ll only continue to climb for the foreseeable future.

The post Tyler, the Creator Explores New Persona on Latest Album appeared first on SCAD Radio.

Tyler truly got his start in 2007 quickly becoming the star of the Odd Future hip hop collective, which included many successful artists including Earl Sweatshirt and Frank Ocean. Though many Odd Future members have features on his self-released mixtape Bastard, it marked his debut as a solo artist. After his Grammy win, many fans cited a line on the opening song of the same name, in which he states, “My goal in life is a Grammy, hopefully momma will attend the ceremony with all my homies.”

However, Bastard is not an album of hopeful successes and dreams. It is seething and aggressive, with Tyler expressing self-hatred and suicidal thoughts on the opening track, as well as anger towards his absent father (“Inglorious”) and police officers (“Pigs Fly”). Additionally, there are several mentions of rape, drug abuse, racism, and homophobia on Bastard, creating a large amount of controversy around what Tyler stands for.

“On “Radicals,” he goes so far as to add a disclaimer at the beginning of the song to protect himself from anyone being influenced by the chorus’s chant of “Kill people, Burn sh*t, F*ck school.”

Goblin has many of the same hateful themes as Bastard but allows listeners to see into Tyler’s psyche that Bastard didn’t allow. The harsh beats match the lyrics while “Yonkers,” the single and accompanying music video that launched Tyler into the public eye, was actually a parody of heavy New York City beats reminiscent of the Wu-Tang Clan. In both projects, Tyler speaks to the fictional Dr. TC, a therapist who he tells his darkest thoughts to, giving him a platform for his violent lyrics. On Goblin’s final track “Golden,” it’s revealed that Dr. TC is a figment of Tyler’s subconscious.

Multiple statements in countless interviews note that lyrics from his early works do not reflect Tyler, and he’s openly argued that he’s not homophobic, racist, or sexist in any way. On “Radicals,” he goes so far as to add a disclaimer at the beginning of the song to protect himself from anyone being influenced by the chorus’s chant of “Kill people, Burn sh*t, F*ck school.” In 2015, UK Prime Minister Theresa May made the decision to ban Tyler, the Creator from entering the country under guidelines of him being a potential terroristic threat.

2013’s Wolf received more acclaim than any of his previous work, debuting at #3 on the Billboard charts. After gaining popularity through controversy, Tyler shifted away from violent thematics and heavy beats, stating in an interview that “talking about rape and cutting bodies up, it just doesn’t interest me anymore, what interests me is making weird hippie music for people to get high to.” Wolf is mellow and melodic, with songs like “IFHY,” “Colossus,” and “Slater” demonstrating a more lowkey sound.

Due to the violent and angry lyrics, many have compared Tyler’s work to someone he’s admittedly a fan of: early Eminem. Ironically, “Colossus” emphasized this comparison more than any song I’ve personally heard of Tyler’s, despite it being in his transitional period away from that type of lyricism. He’s been accused of “Colossus” being a nearly parallel story to Eminem’s “Stan.” In “Colossus,” Tyler meets a fan at an amusement park who expresses how much Tyler’s work has affected him, citing the similarities of their lives à la the protagonist voice in “Stan.” Both characters are unhealthily obsessed with their idols, going as far as using self-mutilation to prove their dedication. Despite Tyler acknowledging the parallels, he’s denied the connection between these songs, stating that “the song is just a real-life thing.”

On Cherry Bomb, Tyler frees himself from being “just a rapper”- something that he’s been straining against for basically his entire career. His production abilities go further than they ever have on his previous albums, and on songs like “2SEATER” and “FIND YOUR WINGS,” his composure and melodic beats are something that were touched on in Wolf, but Cherry Bomb feels like Tyler has finally found his passion. “DEATHCAMP” and “BUFFALO” are the only tracks that tie back into the sound fans were familiar with, while the rest is a shift towards the “new” Tyler. While critics thought his rapping was the most disappointing part of Cherry Bomb, Tyler makes it clear he’s so much more than just the angry kid everyone has always pinned him for.

With Flower Boy, he takes even more of a step back from rapping to further hone his skills as a producer. Tyler started to think more in terms of intent rather than just his own abilities and signatures, and more singing was part of this vision. This is also true for his lyrics: probably the best and most insightful in his entire discography. “Forward” and “Garden Shed” are both vulnerable, another change in direction from previous projects. In the past, he would insert a layer of separation from the larger than life personality of Tyler, the Creator by inserting disclaimers or by explicitly playing a character. Although there are many sensitive moments on this LP, he hadn’t completely lost sight of his roots- “Who Dat Boy” fully embraces the “old Tyler”, and “I Ain’t Got Time!” embraces the more stereotypical braggadocious attitude of a rapper.

Tyler had been criticized for using homophobic slurs, but since the release of Flower Boy– and arguably before that- his sexuality has been under a great deal of scrutiny. Many of the lyrics suggest romantic interest in men as well as some quotes from interviews, but it’s also difficult to parse what is authentic and what is just meant to spark controversy. As of yet, he hasn’t really officially come out.

IGOR also hints at attraction to another man, telling the story of unrequited love on top of a beautifully composed soundtrack. IGOR really takes the listener on a musical journey, bending genres and flowing perfectly. Tyler was heavily involved in every aspect of the production, and the careful and detailed nature of the songs reflects how much thought was put into these tracks. It’s a step forward for him musically and certainly in terms of creating a fully fleshed-out work of art with the albums accompanying live aesthetic- the suit and wig, namely.

“He’s always held an air of mystery about himself, though- it’s a challenge to decipher whether he’s joking or not, and that seems to be true to this day.”

Prior to the album’s release, Tyler was adamant that it shouldn’t be defined as a rap release. Though his name is still synonymous with being a rapper, rapping is notably absent on most of the album. He commented on this directly after being awarded a Grammy- while remaining grateful and humble about the win itself, he criticized the award show for pigeonholing artists like him to “urban” categories, calling it a “just a politically correct way to say the N-word.” It’s a nuanced point about the nature of such categorizations and the limiting impact that preconceived notions the Grammys can have. But it also rings a little hollow coming from the guy that defended using the word “gay” as an insult or went as far to say that white people should be able to say the n-word.

Tyler, the Creator certainly has certainly come to grow musically and emotionally. Having an immense amount of pressure on him at a young age to maintain a specific image and capture the attention of the public could have encouraged some of his more flagrant behavior in the past. He’s always held an air of mystery about himself, though- it’s a challenge to decipher whether he’s joking or not, and that seems to be true to this day. He’s become a fashion icon, a director, a designer, an organizer, and a respected musical artist. Whatever he does next, the world is sure to be watching.

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#10 III– The Lumineers

Run the Jewels and The Weeknd had successes this decade crafting trilogies, and The Lumineers added themselves to the list with one single album. III is an epic spanning three generations of a family ravaged by addiction. In the heat of the opioids crisis, the folk-rock band’s release is cinematic excellency aided by music videos pumping even more life to their universe that sadly isn’t unfamiliar.

#9 thank u, next– Ariana Grande

If a pop album has its playlist in all lowercase these days, that’s an inexplicable indication it’s gonna be great. What’s not inexplicable is that barely six months off of Sweetener, the former Nickelodeon star added another dose of sugar with thank u, next. Emanating as much fearsomeness as humility, it hosts different aspects of Grande’s worldview to the steamy (friends with benefits-ballad “bloodline”) to the serious (lowkey feminist anthem “fake smile”). The final trio is the dessert, a spicy Sound of Music mix in “7 rings,” the deliriously trappy “break up with your girlfriend, i’m bored,” and of course, the title track: an antithesis from the sappy heartbroken heroine cliché to cement Ari as one of pop’s most forward-thinking delights.

#8 Father of the Bride– Vampire Weekend

The flappy sounds of Vampire Weekend’s fourth LP mimic the pleasantness of your wedding day, but Koenig & co’s dark lyrics give the fear your loved one’s skeptical father would subliminally emit. The six-year hiatus taken by the band proved to be no downgrade whatsoever, even with the departure of one of their members.

#7 Cuz I Love You– Lizzo

With depression on the rise and the world seemingly crashing down for many people, Lizzo was the musical Prozac we needed. Though “Truth Hurts” and “Good as Hell” exploded this year, her debut offering is destined to go down as one of the most quotable albums ever. “Slow songs are for skinny hoes,” “only exes that I care about are in my f**king chromosomes,” just a few of the treasured chants for your shower concerts.

#6 Zuu– Denzel Curry

What Illmatic is for New York hip-hop, Zuu is where Miami throws their hat in the rap ring. This Zuu is where Curry showcases his roar. He’s an aggressive force on the mic with anecdotes of a place proven to be more than a flamboyant Spring break spot. You could call it one of the most well-written hip-hop albums of the era- until you find out Curry freestyled the entire thing.

#5 Dedicated– Carly Rae Jepsen

E•MO•TION catapulted Carly Rae Jepsen beyond just being the lady behind “Call Me Maybe,” and Dedicated proves her pop music alternative is here to stay. It’s caressing, but never feels too mushy with some slamming production here (“Now That I Found You”) and moderate hip-swaying there (“Want You In My Room”).

Read our review of Dedicated here.

#4- Norman F**king Rockwell!– Lana Del Rey

From Pepsi cola-flavored privates to erotic duets with The Weeknd, Lizzy Grant’s journey has been one of a kind. On her complex fifth album, she enters her final form as a sorrowful savant. Rockwell’s writing channels some of Lana’s finest work yet and has a heavier focus on piano than you’d ever hear from the Born to Die era. It’s stripped down compared to its predecessors, but moments like the outro on “The greatest” and the silky “doin’ time” cover helped Lana own 2019- let’s just forget about that Charlie’s Angels song…

Check out our review for this landmark album here.

#3- Igor– Tyler, the Creator

Once envisioned solely as a rapper, Tyler, the Creator dips his feet into some retro funk, a similar road Childish Gambino took with “Awaken, My Love!”. Igor plays like some kind of R&B opera, Jerrod Carmichael narrating the title goblin’s soupy love triangle that sonically speaking, is as abstract as the man behind it. 

#2 Better Oblivion Community Center– Better Oblivion Community Center

Lil Nas X and Billy Ray Cyrus weren’t the only duo to dominate 2019: Phoebe Bridgers and Conor Oberst’s terrific collaboration is as odd as their namesake would suggest. The pair fuses their powers marvelously, creating a dynamic with Oberst as the indie rock veteran and Bridgers as a rising star, but neither of them tries to outdo each other. This is their first collab (save for his feature on Bridgers’ 2017 debut), and tricks you into thinking they’ve been playing with each other for years- almost a modern-day Sonny and Cher.

#1 WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?– Billie Eilish

It’s the culmination of the pop music redrawing that’s dominated this decade. Artists like Lana and Marina flipped the script with an authentic sound of their own, and Eilish and her brother’s craft is a clearly distinguishable method in their weird world. Finneas’ sunken set pieces, Billie’s ominously muffled vocals, it all may as well have a “TM” printed next to it. She isn’t one to try to baffle you with her enigma, rather one aware of her surroundings and wholly in touch with today’s youth- equal parts sarcastic (dad seducing on “bad guy”), swaggering (fiery “you should see me in a crown”), and self-depreciative (suicidal “listen before i go”). Every generation has a beloved musician journaling the era they were raised in- now Gen Z has Billie Eilish.

The post SCAD Radio’s Top 10 Albums of 2019 appeared first on SCAD Radio.

Although NPR is primarily known for its sometimes stuffy radio news programming, their music division hosts and makes videos of small concerts played in the venue of the D.C. NPR offices. They’re called “Tiny Desk Concerts”, and a quick search on YouTube will show you a nice sampling of the plethora of bands and musicians that have graced the desk. From old favorites to surprising new discoveries–Tiny Desk Concerts provide a wonderful way to enjoy music, no matter what you’re looking for.

From the looks of it, Tiny Desk Concerts would be more suited to smaller artists–and the majority of the musicians are relatively unheard of. But every once in a while, a star drops by. Mac Miller stopped by just last year to give a fantastic performance. In light of his tragic death, it feels like such a weighty thing to watch, but the truly beautiful thing about it is the joy that fills the whole show. Mac is joking around between songs, laughing as fellow musician Thundercat plays the shaker, and really seeming to genuinely enjoy sharing his songs.

Perhaps the queen of indie rock, St. Vincent, gave a quiet and personal performance of songs off her 2017 album, MASSEDUCTION as well. She’s often seen on stage backed by bright visuals, and she’s best known as an electric guitarist. But at her Tiny Desk, she fittingly flips the script and stands solo with only an acoustic guitar and her voice. The stark simplicity gives the songs a more intimate feeling that gets somewhat lost on the intricately produced album recordings of them.

One of the biggest rappers to ever come to the NPR headquarters has to be Tyler, the Creator. Atypical from the usual Tiny Desk arrangement, Tyler held his show at night and had his set beautifully lit with atmospheric shades of red and blue and pink to match the tone of each song. His live shows are full of intense and concentrated energy, but in the Tiny Desk setting, Tyler’s more soulful songs really got a chance to shine, and his infamous sense of humor was not lost. It’s a remarkable display of the rapper’s talents and consideration for every part of his performances.

It’s definitely a treat to see such big-name artists in a setting other than a huge venue, the real gems of Tiny Desk concerts lie within their videos of smaller artists that you might be able to catch at a house show someday. It’s absolutely glorious to see these artists pour their hearts out into these little performances for the folks at NPR–and the emotions can range from thundering rage to shining happiness.

The saxophone-and-drum trio Moon Hooch gave what was perhaps the most passionate, energetic, and sweaty Tiny Desk Concert of all time. These guys aren’t the saxophonists from your local marching band–their sound is more akin to the musical screaming of punk infused with the complex melodies of jazz and the infectious rhythms of dance music. These guys have an almost inhuman amount of energy, and it’s enthralling to witness. Their set is nonstop, and it kind of makes you want to get up and off the Internet so you can go make something as stirring as Moon Hooch’s music.

The electronic duo Sylvan brings a completely different kind of energy to the tiny desk. Though their music is similar to that of Moon Hooch with its dancy beats and propensity to get people to move, NPR employees on their lunch break aren’t always in the mood for such wild abandon. The pair plays some of the enchanting softer songs from their self-titled debut and singer Amelia Meath jokes about the subdued nature of the concert-goings in an utterly charming manner. It taps into a lovely little awkwardness and subtle that you wouldn’t be able to find anywhere else in the world of live music videos.

One of my personal favorite Tiny Desk Concerts comes from The Music Tapes. Fronted by indie legend of Neutral Milk Hotel fame, Julian Koster, these guys deliver a sweet and whimsical Christmas special that’ll make your day brighter anytime of the year. Complete with singing saws, disarming childhood stories, and one of the greatest hats of all time, this Tiny Desk is one of the best things on YouTube. If you’re in the right mood, it might make you cry. It’s just so inventive and creative– Koster is one of the most genuinely kind people on the planet, and this Tiny Desk is a record of something truly wonderful, and the world is lucky to have it. But I’ll let you judge that for yourself.

There’s so much music out in the world–yet it’s still so difficult to find something to fit your tastes. That’s where Tiny Desk Concerts come in to save the day! There’s something in the seemingly endless catalogue of shows for everyone–from the finest hip hop to the wildest classical. Discovering new artists that you’d never find on your own or even think that you’d be interested in listening to is probably the most rewarding part of consistently checking out new Tiny Desk Concerts. I’ve become a fan of bands after finding them through Tiny Desks. Go search through–try something new. You’re bound to find something you’re interested in!

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