CGI Dog

5y

the reggae s*** was so unexpected and he pulled it off amazingly so

Oj Or

5y

Nothing. This album's not really a topic of discussion like yall think it is

repent

5y

fb fans are on the offensive

New Tyler is decent Hip-Hop, but it's an unfortunate end to the almost linear sonic and lyrical development he's been undergoing since 09! The rhyme schemes and flows are often very competent, and sometimes are quite funny, but they come coupled with Tylers' sneering ultra-wealth which lends cause to cringe at some of the obnoxious bars regarding historic and institutional racism ("whips on whips, my ancestors got they backs out"), and tax-evasion. Don't get me wrong, Tyler asks some great questions about how tax revenue is spent (why schools are still operating on deprivation budgets when individuals are losing so much of their money), but instead of critiquing the punitive tax rates and pithy revenues raised from targeting individuals over corporations, or levelling criticism at the US electoral system, he uses these questions to vindicate the fact that he uses loop holes to evade tax. Not exactly what I want to hear when I'm living week to week. It's a really s***ty moment on this record, and shouldn't be defended by fans under any circumstances.

As a counterpoint to these insidious and vapid flexes Tyler develops a forthcoming narrative about a love triangle he's been involved in since(?) the release of Igor. It becomes clear on Corso that Tyler sees himself both as an active adulterer and a victim within this love triangle and the resulting fallout. A deep melancholy begins to permeate the record due to the strange tension Tyler develops between his constant sneering-wealth, and self deprecating attempts at introspection. I can't help but eel Tyler is attempting to take emotional solace in a material wealth that he once admitted did little to console his loneliness (such as on '911/Mr. Lonely'). It can sometimes make for uncomfortable listening.

Sonically, the album is less dynamic than previous efforts, the original jazz and R&B compositions are largely jettisoned in favour of a more straightforward jazz-rap and trap pallet. The mixing and mastering on this project will delight Cherrybomb fans (which I count myself among), the 808s and drums occasionally threaten to swallow T's melodic samples and trademark synths. Disbarring these unique mixing quirks, the project has more in common with a Griselda record than Flowerboy or Igor. DJ Drama's contributions thus fit comfortably within most compositions. However, his adlibs begin to grate the more Tyler experiments with and dips into other genres. My favourite songs on the first listen are Corso, Wasyaname, Runitup, and Safari.

Some of the beats are indulgent in the worst way with two of the weakest tracks running well over 5 mins with very little in the way of beat switch-ups or interesting vocal performances (Wilshire is notable for its extremely strong story-telling, Wanted to Dance is a war-crime Dancehall deserves better).

Without the narrative concept or sonic motifs which loosely thread T's albums (from Wolf onward), the materialistic lyrics come across as artistically devoid, even vapid. The beats range from extremely fun to boring, with no new musical direction apparent since the release of Igor.

At its best Call Me If You Get Lost is decent bars and belter beats, but there are serious lows peppered throughout!

repent

5y

fb fans are on the offensive

New Tyler is decent Hip-Hop, but it's an unfortunate end to the almost linear sonic and lyrical development he's been undergoing since 09! The rhyme schemes and flows are often very competent, and sometimes are quite funny, but they come coupled with Tylers' sneering ultra-wealth which lends cause to cringe at some of the obnoxious bars regarding historic and institutional racism ("whips on whips, my ancestors got they backs out"), and tax-evasion. Don't get me wrong, Tyler asks some great questions about how tax revenue is spent (why schools are still operating on deprivation budgets when individuals are losing so much of their money), but instead of critiquing the punitive tax rates and pithy revenues raised from targeting individuals over corporations, or levelling criticism at the US electoral system, he uses these questions to vindicate the fact that he uses loop holes to evade tax. Not exactly what I want to hear when I'm living week to week. It's a really s***ty moment on this record, and shouldn't be defended by fans under any circumstances.

As a counterpoint to these insidious and vapid flexes Tyler develops a forthcoming narrative about a love triangle he's been involved in since(?) the release of Igor. It becomes clear on Corso that Tyler sees himself both as an active adulterer and a victim within this love triangle and the resulting fallout. A deep melancholy begins to permeate the record due to the strange tension Tyler develops between his constant sneering-wealth, and self deprecating attempts at introspection. I can't help but eel Tyler is attempting to take emotional solace in a material wealth that he once admitted did little to console his loneliness (such as on '911/Mr. Lonely'). It can sometimes make for uncomfortable listening.

Sonically, the album is less dynamic than previous efforts, the original jazz and R&B compositions are largely jettisoned in favour of a more straightforward jazz-rap and trap pallet. The mixing and mastering on this project will delight Cherrybomb fans (which I count myself among), the 808s and drums occasionally threaten to swallow T's melodic samples and trademark synths. Disbarring these unique mixing quirks, the project has more in common with a Griselda record than Flowerboy or Igor. DJ Drama's contributions thus fit comfortably within most compositions. However, his adlibs begin to grate the more Tyler experiments with and dips into other genres. My favourite songs on the first listen are Corso, Wasyaname, Runitup, and Safari.

Some of the beats are indulgent in the worst way with two of the weakest tracks running well over 5 mins with very little in the way of beat switch-ups or interesting vocal performances (Wilshire is notable for its extremely strong story-telling, Wanted to Dance is a war-crime Dancehall deserves better).

Without the narrative concept or sonic motifs which loosely thread T's albums (from Wolf onward), the materialistic lyrics come across as artistically devoid, even vapid. The beats range from extremely fun to boring, with no new musical direction apparent since the release of Igor.

At its best Call Me If You Get Lost is decent bars and belter beats, but there are serious lows peppered throughout!

NewCopeJustDropped

5y

Production on this is hard as brix

repent

5y

fb fans are on the offensive

New Tyler is decent Hip-Hop, but it's an unfortunate end to the almost linear sonic and lyrical development he's been undergoing since 09! The rhyme schemes and flows are often very competent, and sometimes are quite funny, but they come coupled with Tylers' sneering ultra-wealth which lends cause to cringe at some of the obnoxious bars regarding historic and institutional racism ("whips on whips, my ancestors got they backs out"), and tax-evasion. Don't get me wrong, Tyler asks some great questions about how tax revenue is spent (why schools are still operating on deprivation budgets when individuals are losing so much of their money), but instead of critiquing the punitive tax rates and pithy revenues raised from targeting individuals over corporations, or levelling criticism at the US electoral system, he uses these questions to vindicate the fact that he uses loop holes to evade tax. Not exactly what I want to hear when I'm living week to week. It's a really s***ty moment on this record, and shouldn't be defended by fans under any circumstances.

As a counterpoint to these insidious and vapid flexes Tyler develops a forthcoming narrative about a love triangle he's been involved in since(?) the release of Igor. It becomes clear on Corso that Tyler sees himself both as an active adulterer and a victim within this love triangle and the resulting fallout. A deep melancholy begins to permeate the record due to the strange tension Tyler develops between his constant sneering-wealth, and self deprecating attempts at introspection. I can't help but eel Tyler is attempting to take emotional solace in a material wealth that he once admitted did little to console his loneliness (such as on '911/Mr. Lonely'). It can sometimes make for uncomfortable listening.

Sonically, the album is less dynamic than previous efforts, the original jazz and R&B compositions are largely jettisoned in favour of a more straightforward jazz-rap and trap pallet. The mixing and mastering on this project will delight Cherrybomb fans (which I count myself among), the 808s and drums occasionally threaten to swallow T's melodic samples and trademark synths. Disbarring these unique mixing quirks, the project has more in common with a Griselda record than Flowerboy or Igor. DJ Drama's contributions thus fit comfortably within most compositions. However, his adlibs begin to grate the more Tyler experiments with and dips into other genres. My favourite songs on the first listen are Corso, Wasyaname, Runitup, and Safari.

Some of the beats are indulgent in the worst way with two of the weakest tracks running well over 5 mins with very little in the way of beat switch-ups or interesting vocal performances (Wilshire is notable for its extremely strong story-telling, Wanted to Dance is a war-crime Dancehall deserves better).

Without the narrative concept or sonic motifs which loosely thread T's albums (from Wolf onward), the materialistic lyrics come across as artistically devoid, even vapid. The beats range from extremely fun to boring, with no new musical direction apparent since the release of Igor.

At its best Call Me If You Get Lost is decent bars and belter beats, but there are serious lows peppered throughout!

aaron xx

5y

its over

repent

5y

fb fans are on the offensive

New Tyler is decent Hip-Hop, but it's an unfortunate end to the almost linear sonic and lyrical development he's been undergoing since 09! The rhyme schemes and flows are often very competent, and sometimes are quite funny, but they come coupled with Tylers' sneering ultra-wealth which lends cause to cringe at some of the obnoxious bars regarding historic and institutional racism ("whips on whips, my ancestors got they backs out"), and tax-evasion. Don't get me wrong, Tyler asks some great questions about how tax revenue is spent (why schools are still operating on deprivation budgets when individuals are losing so much of their money), but instead of critiquing the punitive tax rates and pithy revenues raised from targeting individuals over corporations, or levelling criticism at the US electoral system, he uses these questions to vindicate the fact that he uses loop holes to evade tax. Not exactly what I want to hear when I'm living week to week. It's a really s***ty moment on this record, and shouldn't be defended by fans under any circumstances.

As a counterpoint to these insidious and vapid flexes Tyler develops a forthcoming narrative about a love triangle he's been involved in since(?) the release of Igor. It becomes clear on Corso that Tyler sees himself both as an active adulterer and a victim within this love triangle and the resulting fallout. A deep melancholy begins to permeate the record due to the strange tension Tyler develops between his constant sneering-wealth, and self deprecating attempts at introspection. I can't help but eel Tyler is attempting to take emotional solace in a material wealth that he once admitted did little to console his loneliness (such as on '911/Mr. Lonely'). It can sometimes make for uncomfortable listening.

Sonically, the album is less dynamic than previous efforts, the original jazz and R&B compositions are largely jettisoned in favour of a more straightforward jazz-rap and trap pallet. The mixing and mastering on this project will delight Cherrybomb fans (which I count myself among), the 808s and drums occasionally threaten to swallow T's melodic samples and trademark synths. Disbarring these unique mixing quirks, the project has more in common with a Griselda record than Flowerboy or Igor. DJ Drama's contributions thus fit comfortably within most compositions. However, his adlibs begin to grate the more Tyler experiments with and dips into other genres. My favourite songs on the first listen are Corso, Wasyaname, Runitup, and Safari.

Some of the beats are indulgent in the worst way with two of the weakest tracks running well over 5 mins with very little in the way of beat switch-ups or interesting vocal performances (Wilshire is notable for its extremely strong story-telling, Wanted to Dance is a war-crime Dancehall deserves better).

Without the narrative concept or sonic motifs which loosely thread T's albums (from Wolf onward), the materialistic lyrics come across as artistically devoid, even vapid. The beats range from extremely fun to boring, with no new musical direction apparent since the release of Igor.

At its best Call Me If You Get Lost is decent bars and belter beats, but there are serious lows peppered throughout!

blackefron

5y

hella words

repent

5y

fb fans are on the offensive

New Tyler is decent Hip-Hop, but it's an unfortunate end to the almost linear sonic and lyrical development he's been undergoing since 09! The rhyme schemes and flows are often very competent, and sometimes are quite funny, but they come coupled with Tylers' sneering ultra-wealth which lends cause to cringe at some of the obnoxious bars regarding historic and institutional racism ("whips on whips, my ancestors got they backs out"), and tax-evasion. Don't get me wrong, Tyler asks some great questions about how tax revenue is spent (why schools are still operating on deprivation budgets when individuals are losing so much of their money), but instead of critiquing the punitive tax rates and pithy revenues raised from targeting individuals over corporations, or levelling criticism at the US electoral system, he uses these questions to vindicate the fact that he uses loop holes to evade tax. Not exactly what I want to hear when I'm living week to week. It's a really s***ty moment on this record, and shouldn't be defended by fans under any circumstances.

As a counterpoint to these insidious and vapid flexes Tyler develops a forthcoming narrative about a love triangle he's been involved in since(?) the release of Igor. It becomes clear on Corso that Tyler sees himself both as an active adulterer and a victim within this love triangle and the resulting fallout. A deep melancholy begins to permeate the record due to the strange tension Tyler develops between his constant sneering-wealth, and self deprecating attempts at introspection. I can't help but eel Tyler is attempting to take emotional solace in a material wealth that he once admitted did little to console his loneliness (such as on '911/Mr. Lonely'). It can sometimes make for uncomfortable listening.

Sonically, the album is less dynamic than previous efforts, the original jazz and R&B compositions are largely jettisoned in favour of a more straightforward jazz-rap and trap pallet. The mixing and mastering on this project will delight Cherrybomb fans (which I count myself among), the 808s and drums occasionally threaten to swallow T's melodic samples and trademark synths. Disbarring these unique mixing quirks, the project has more in common with a Griselda record than Flowerboy or Igor. DJ Drama's contributions thus fit comfortably within most compositions. However, his adlibs begin to grate the more Tyler experiments with and dips into other genres. My favourite songs on the first listen are Corso, Wasyaname, Runitup, and Safari.

Some of the beats are indulgent in the worst way with two of the weakest tracks running well over 5 mins with very little in the way of beat switch-ups or interesting vocal performances (Wilshire is notable for its extremely strong story-telling, Wanted to Dance is a war-crime Dancehall deserves better).

Without the narrative concept or sonic motifs which loosely thread T's albums (from Wolf onward), the materialistic lyrics come across as artistically devoid, even vapid. The beats range from extremely fun to boring, with no new musical direction apparent since the release of Igor.

At its best Call Me If You Get Lost is decent bars and belter beats, but there are serious lows peppered throughout!

mr get dough

5y

All the last 4 are #1

repent

5y

fb fans are on the offensive

New Tyler is decent Hip-Hop, but it's an unfortunate end to the almost linear sonic and lyrical development he's been undergoing since 09! The rhyme schemes and flows are often very competent, and sometimes are quite funny, but they come coupled with Tylers' sneering ultra-wealth which lends cause to cringe at some of the obnoxious bars regarding historic and institutional racism ("whips on whips, my ancestors got they backs out"), and tax-evasion. Don't get me wrong, Tyler asks some great questions about how tax revenue is spent (why schools are still operating on deprivation budgets when individuals are losing so much of their money), but instead of critiquing the punitive tax rates and pithy revenues raised from targeting individuals over corporations, or levelling criticism at the US electoral system, he uses these questions to vindicate the fact that he uses loop holes to evade tax. Not exactly what I want to hear when I'm living week to week. It's a really s***ty moment on this record, and shouldn't be defended by fans under any circumstances.

As a counterpoint to these insidious and vapid flexes Tyler develops a forthcoming narrative about a love triangle he's been involved in since(?) the release of Igor. It becomes clear on Corso that Tyler sees himself both as an active adulterer and a victim within this love triangle and the resulting fallout. A deep melancholy begins to permeate the record due to the strange tension Tyler develops between his constant sneering-wealth, and self deprecating attempts at introspection. I can't help but eel Tyler is attempting to take emotional solace in a material wealth that he once admitted did little to console his loneliness (such as on '911/Mr. Lonely'). It can sometimes make for uncomfortable listening.

Sonically, the album is less dynamic than previous efforts, the original jazz and R&B compositions are largely jettisoned in favour of a more straightforward jazz-rap and trap pallet. The mixing and mastering on this project will delight Cherrybomb fans (which I count myself among), the 808s and drums occasionally threaten to swallow T's melodic samples and trademark synths. Disbarring these unique mixing quirks, the project has more in common with a Griselda record than Flowerboy or Igor. DJ Drama's contributions thus fit comfortably within most compositions. However, his adlibs begin to grate the more Tyler experiments with and dips into other genres. My favourite songs on the first listen are Corso, Wasyaname, Runitup, and Safari.

Some of the beats are indulgent in the worst way with two of the weakest tracks running well over 5 mins with very little in the way of beat switch-ups or interesting vocal performances (Wilshire is notable for its extremely strong story-telling, Wanted to Dance is a war-crime Dancehall deserves better).

Without the narrative concept or sonic motifs which loosely thread T's albums (from Wolf onward), the materialistic lyrics come across as artistically devoid, even vapid. The beats range from extremely fun to boring, with no new musical direction apparent since the release of Igor.

At its best Call Me If You Get Lost is decent bars and belter beats, but there are serious lows peppered throughout!

CGI Dog

5y

the reggae s*** was so unexpected and he pulled it off amazingly so