Tyler the Creator’s sound development has cemented his place among the most excellent musicians of the modern era. Wolf seems to be the album where we first witness his talent and potential flourish. Wolf is a sincere, honest work that shifts between various superbly depicted moods. Wolf was a classic in terms of first refined albums. Let’s review Tyler The Creator Wolf now.
1. About Tyler The Creator Wolf
Tyler, now in his 20s, struggles with some serious issues. “Wolf” is extremely dark, with themes ranging from not managing his father’s absence to misconceptions about his grandmother’s passing to the lovely nightmare that is fame. Tyler, however, often the “fuckin’ walking paradox,” incorporates this powerful imagery into upbeat soundscapes. It strikes a wonky yet fantastic balance between Tyler, the Creator’s forced life experience, and his desire to remain a child. Tyler has captured the energies of his friends as well as directed them toward this endeavor.
Fans of Odd Future might consider “Tyler The Creator Wolf” another example of his dysfunctional behavior. A closer listen reveals an audible growth, though. This may be Tyler’s final attempt to address his problems on wax before he disappears into another aspect à la Eminem. Whatever happens after that, “Wolf” is an excellent addition to the frontman of Odd Future’s discography. It is a little scattered, so if you’re looking for a one-trick pony, you might want to try another stable.
2. The musicality in Tyler The Creator Wolf is of high quality
Wolf’s lyricism distinguishes it from Tyler’s 1st two albums, Bastard and Goblin. Until Wolf, Tyler was renowned for his shocking lyrics and grungy, unmixed approach to instrumentals, yet with this album, he made it clear that his talent went above and beyond what we had anticipated.
Two of the eighteen lyrics, “Awkward” and “48,” demonstrate Tyler the Creator’s possibility to appeal to listeners of any gender or age effortlessly. Along with his proficiency in instrumental composition, Tyler has a smooth transitional style evident throughout the entire album. Songs like “Slater,” “Answer,” as well as “Pigs” can all be chosen at random and utilized as examples.
Even so, Tyler the Creator’s use of protagonists to explore various moods as well as thoughts—all did play himself and joined by Odd Future and friends—is what set Wolf apart from many other concept albums. The conversations between “Sam” and “Wolf,” “Dr. TC,” the psychologist, and other members of Odd Future made the album as engaging as a book or even a movie.
In his first three albums, Tyler maintained a consistent dialogue with his conscience that gave him the freedom to explore any topics he chose, whether they be obsession (“IFHY”), anxiety (“Awkward”), as well as rage (“Pigs”). Giving himself characters is a brilliant way for him to fully express a variety of different emotions, which expands the possibilities of his music.
3. The level of maturity Tyler showed
The level of sophistication Tyler demonstrated in his subject matter, instrumental style, and lyrical content was another critical component of the album. Wolf had a more reflective tone than Goblin and Bastard, which were loosely classified as horrorcore because of the numerous allusions to murder and rape. Instead, Wolf focused on the author’s loneliness, his connections with his friends as well as his father, and the passing of his grandmother.
The way Tyler the Creator approached the new album in a series of concept albums, which had a dark beginning, made it feel complete; songs like “Answer” opened up about his perspective on growing up with no father, while “Lone” went into great detail about his mom’s passing. By showing a side of Wolf that he hadn’t previously displayed—one that was open and intimate—earlier Tyler’s fan base was opened up.
The three-track combination from “Pigs” to “Rusty,” “Slater,” as well as “Bimmer” are the songs from of the album that individually stand out. We can consider “Slater” and “Bimmer” to be instant classics because of the tracks’ superb production, which perfectly complements Tyler’s lyricism.
The album’s final two tracks, “Party Isn’t Over” as well as “Campfire,” may be the only ones to drag a little. However, the anticipation for “Bimmer” makes it so unique.
Pigs, Parking Lot, as well as Rusty, along with the impressive production, nicely manifest into a climax in Tyler’s narrative. It seems as though you are watching scenes from the movie during the outro on “Parking Lot” as well as the beginning and end of “Rusty.” Tyler’s selection of samples as well as making it sound, all serve their purposes and always have.
4. Some track-by-track in Tyler The Creator Wolf album wolf
Even so, even as “you” cooing fades away, Tyler says a resounding “fuck,” transforming it into a lovely “Fuck You.” The keys as well as the breathy intro, give the impression that Tyler has softened. Sam, who confronts his demons as well as resists the “Wolf,” makes a comeback in the song. It’s a typical Tyler introduction, especially since it ends with a brief rant.
Although “Jamba” is meant to be lighthearted, Tyler’s entry contradicts that. He begins by saying, “Papa ain’t call even if he saw me on T.V.,” before requesting his inhaler and going into detail about smoking marijuana. Up until Domo turns it off at the conclusion. Tyler’s opening monologue about his father seems a little out of place, particularly in light of Hodgy’s subsequent verse. But it establishes the framework for the remainder of the project.
Tyler’s chopped-and-screwed rhymes about his youth capture the awkwardness of first love. Even though it wasn’t that long ago, he talks about it as if it were a distant memory. The track’s submerged sound drowns out all the message, but you can still make out a cameo by Frank Ocean just at the end.
Tyler uses a variety of derogatory terms, beginning by referring to his leader Christian Clancy as just an enslaver. After reminding everybody that he became wealthy by eating a cockroach in his “Yonkers” video, he discusses the homophobia rumors and recalls smoking sherry with Justin Bieber. Although “Domo23” is intended to offend, it does so in the least offensive way possible. The mention of One Direction might not have made them too happy.
This track has an apparent vulnerability. To the sound of straightforward guitars as well as percussion, Tyler is talking to his father (a recurring theme in “Wolf”) while boasting about his success as well as returning to the idea that he wishes his father would pick up the phone if he ever calls.
It demonstrates that Tyler has some genuine emotions to sort out despite being bipolar and angry (like Tyler most of the time).
Tyler’s inclusion of social commentary through his formula is strange. Nas’ message about a crack at the song’s beginning and the end is out of place, as well as Tyler’s sincerity is questionable. What kind of person is this who would punch a puppy and is now starting a D.A.R.E. campaign? Even the drugs are his fault, he admits. Hopefully, he’s to use the word “drugs” to refer to music, as taking it literally would be highly dubious.
Imagine “Stan” on feelings steroids mixed to “The Way I Am” by Eminem. Only a few small instruments, possibly a triangle, are used to support Tyler’s message in an obnoxious fan. Tyler frequently switches between cutesy fanfare and sexually maniacal lyrics. Even though it’s insane, Tyler still makes his point. He would give anything to live a regular life, fans or no fans.
Although the three songs blend into one, the manufacturing changes indicate the beginning and end of each vignette. Once Tyler wants to be, he can tell engaging stories. And when he isn’t using three- as well as four-letter F-bombs, he can be endearing. He doesn’t allow that to continue for long before bringing the humor back. Laetitia Sadier’s appearance from Stereolab takes precedence over everything else.
The hook says: “I fucking hate you, but I love you, the hook declares. I have trouble controlling my emotions.” A new episode of bipolar is set in motion by the deleterious beat as Tyler declares his unwavering love for Salem before trying to turn around and verbally assaulting her. Although Pharrell’s cameo (like the majority of his appearances on the album) is subtle, it serves as the perfect song’s coda.
The singer is in his 20s, but this song still has a lot of teen angst. Tyler expresses his depression and refers to his inhaler as his best friend (because it prevents him from coughing). By the second verse, however, he exacts revenge on his tormentors and implies that he turned to violence by using police sirens. But when did Tyler ever give a damn about taste?
Given how irritating Tyler’s vocals can be at times, the fact that Casey Veggies is only featured in the chorus is disappointing. The work drags by the 13th track because “Wolf” is almost too long. This song would sound even better if previous cuts were removed from it than when played in chronological order.