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The keys and breathy intro suggest Tyler has gone soft, but as the cooing of “you” fades out, Tyler says an emphatic “fuck” to turn it into a graceful “Fuck You.” The track sets up the return of the character “Sam,” who addresses his demons and defies the “Wolf.” It’s of course a true Tyler intro, especially leading into a slight rant at the end. It is a tad all over the place, so if you’re searching for a one trick pony, then perhaps you should try a different stable. Regardless of what happens next, “Wolf” is a welcome addition to the Odd Future frontman’s catalog. This might be the last time Tyler attacks his issues on wax before spiraling off into another dimension a la Eminem. However, with a closer listen, there is an obvious growth. Tyler has clearly picked up his friends’ energies and channeled them into this project.įair weathered Odd Future fans might find “Wolf” to be another notch in Tyler’s dysfunctional belt. Here’s a guy whose friends range from mid-teens to late twenties (the latter being a quiet genius, who contemplated suicide over his sexuality). There is a wonky albeit brilliant balance, one that shows Tyler, the Creator’s forced maturity yet highlights his desire to still be a kid. Always the “fuckin’ walking paradox” though, Tyler weaves this intense imagery into upbeat sound beds. From not handling the absence of his father to misunderstandings about his grandmother’s death, and the beautiful nightmare known as fame, “Wolf” is incredibly dark. But “Wolf” advances Okonma in a different direction, one that perhaps is more sincere than his prior work.Now in his ’20s, Tyler grapples with some deeply rooted problems. His abrasive nature, paired with an innate talent, distinguishes him from other artists of the same genre. In some respects Okonma will forever be acrimonious. His adroit rapping ability emerges on “48,” a song on monetary success. He divulges intimate aspects of his life on “Answer.” “Lone” works in the same way, integrating Okonma’s established technique of incorporating a fictional psychiatrist into the album’s plot. The jazzy, melodic “Treehome95” is followed by “Tamale,” which is then followed by “Lone.” But while “Treehome95” and “Lone” are both similarly introspective and slow-paced, “Tamale” rings with bells and circus drums, essentially interrupting the musical order.Įxcellent songs fill “Wolf,” and although the ordering is not superb, Okonma still forges a collection of enduring tracks. A number of down-tempo songs, both long and slow, are placed back to back, harming the tempo. The only negative aspect of “Wolf” is the second half of the album.
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A flurry of hi-hats hiss on the upbeat “Trashwang.” Gunfire and screaming provide an introduction to the heavy bass, but a piano bridge arises in the middle of the song, evidencing the sublime musical quality “Wolf” offers. Sonically, “Wolf” focuses on melody, a quality that permeates the album and makes even the louder, faster songs enjoyable. “Hey Dad, it’s me um … Oh, I’m Tyler, I think I be your son,” he sarcastically sings above organs in “Answer.” He still makes jabs at other artists he doesn’t like, such as One Direction in “Domo23.” But the gruff nature of his earlier work is not found in “Wolf.” He focuses on losing his grandmother and the abandonment of his father. He still uses slurs, epithets and expletives. This isn’t to say Okonma has abandoned his cynicism. Okonma says he “is the cowboy of his own trip” on “Cowboy.” And he goes further when he says, “The paranoia from this marijuana is very heavy” during “Jamba.” He even describes the illicit nature of drug use in a negative sense. Okonma excises the fury of ballads such as “French” and “Radicals,” replacing them with calmer songs including “48” and “PartyIsntOver/Campfire/Bimmer.” Instead of using lyrics that describe mutilating women, Okonma raps about women with seriousness. Okonma and the Odd Future gang - including Frank Ocean, Domo Genesis and Hodgy Beats - pull back the curtain and reveal a different side of their psyches, a change that suggests both musical and personal maturation. For the 22-year-old artist, reducing the hostile and macabre lyrics improves the quality of his productions. However, Okonma’s third studio album, “Wolf,” which dropped April 2, departs from this earlier preoccupation with success. He attacked the music blogs that refused to praise him his misogynistic lyrics stunned audiences.
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Both his debut and sophomore albums contain the ranting of a frustrated juvenile. Odd Future front man Tyler Okonma, known by the stage name Tyler, the Creator, pitches a persona that vacillates between aggressive hostility and careful introspection.