The cover art depicts an identification card for a character named "Tyler Baudelaire", which some critics have taken as a reference to the French poet Charles Baudelaire. It won the award for Best Rap Album at the 2022 Grammy Awards, Tyler's second win. The album debuted at number one on the US Billboard 200, becoming Tyler, the Creator's second US number-one album. It was placed in the top ten's of the best albums of 2021 by multiple publications. Some critics compared the album to his previous release, Igor. The album received widespread acclaim from critics and has been described as a mix of styles, with hints of nostalgia throughout its production. The cover art depicts an identification card for a character named "Tyler Baudelaire" in reference to the French poet Charles Baudelaire, whose work has been regarded by music journalists as comparable to the explicit nature and themes of Tyler's music.Ĭall Me If You Get Lost was supported by two singles: " Lumberjack" and " WusYaName", both of which were released alongside music videos. Genres on the album span hip hop, pop, jazz, soul and reggae.
The album marks a departure from the lighter and more soulful aesthetics of Igor (2019) and Flower Boy (2017) in favor of bold beats and raw rhymes, influenced by DJ Drama's Gangsta Grillz mixtape series. Tyler produced the album himself, with additional production contributed by Jamie xx and Jay Versace. The album is narrated by DJ Drama and features guest appearances from 42 Dugg, YoungBoy Never Broke Again, Ty Dolla Sign, Lil Wayne, Domo Genesis, Brent Faiyaz, Lil Uzi Vert, Pharrell Williams, Teezo Touchdown, Fana Hues and Daisy World. The album was released on June 25, 2021, through Columbia Records.
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After the success of IGOR, Tyler took a solo joyride: “Bought another car ’cause I ain’t know how to celebrate.” A chapter-closing gift for fans, The Estate Sale is a lake house afterparty.Call Me If You Get Lost is the sixth studio album by American rapper and producer Tyler, the Creator. The cover of The Estate Sale depicts Tyler in a similar position-gazing into the distance, suitcases in hand-though he would probably call them valises now. An estate sale insinuates the death of its owner: death of preconceived notions of success, death of ego, death of self-destructive nihilism.
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When I first heard Tyler associate himself with his Baudelaire persona on Call Me If You Get Lost, I didn’t think of the French poet: I thought about the orphans at the center of Lemony Snicket’s children’s novels A Series of Unfortunate Events. Constantly on the run, they’re never in one place long enough to unpack their suitcases. Twenty seconds into original album track “Massa,” a drum beat cuts Tyler off when he begins to idolize his passport. “Heaven to Me” diverts that incomplete thought with a tender ode to domesticity-date nights, water-gun fights, loved ones in the kitchen, and seeing a piece of yourself in the children you helped to bring into the world. On “Sorry Not Sorry,” he glimpses guilt and helplessness about not leveraging his status for Black liberation: “I can’t save niggas/I’m not Superman, but I could try.” On “What a Day,” he shouts out Black women, especially the ones who raised him. He brings back his love for ’80s synth-funk on “Boyfriend, Girlfriend” and taps into New Orleans bounce and Southern trap across “Dogtooth” and “Stuntman.” A$AP Rocky gushes about spoiling his lady on “Wharf Talk,” while Tyler croons with the angst of his Flower Boy and IGOR eras. The breezy and soulful “What a Day” and “Heaven to Me” bring in a John Legend sample and an unreleased Madlib deep cut to complement the album’s leisurely, jet-setting atmosphere.Īs he adjusts to the altitude, Tyler’s position as a community leader presents itself as a new source of anxiety.
The stylistic adventurousness of The Estate Sale offers insight into the sounds that would become Call Me If You Get Lost. Tyler’s own biting, almost Pusha T-like inflection over the New Boyz-type beat could’ve spawned a dance trend in the early 2010s. Fellow Californian Vince Staples rides into “Stuntman” like he’s behind the wheel of a monster truck: “No, you can’t be my girl, bitch, are you dumb?” If you have beef, he suggests you duel him in Milan-if you can afford the flight, that is. As he’s evolved in his artistry, he’s replaced shock value with boasts whose imagination and precision-“I got a jelly bean, Kelly green Rolls/And the guts off-white like a jalapeño”-are almost outdone by the Goblin-like freneticism of his delivery. In his early years, Tyler could be something of an edgelord, delivering violent lyrics about sexual assault through a mischievous grin.
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