IGOR - Tyler, The Creator
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Tyler, The Creator's legacy and direction were very much in question at the leading moments of his release of IGOR, his 6th studio album. Flower Boy was a huge cultural shift in Tyler's own discography and general alternative hip-hop landscape, and as a result of this, uncertainty regarding what Tyler, the Creator was going to do next was at an all-time high.
The Intro track starts as a general tone setter, at least sonically. The placement of IGOR'S THEME in the tracklist conceptually makes a lot more sense towards the end of the album, but I'll discuss that towards the end of the review. Lil Uzi Vert features a significant role in the track, and it honestly took a long time for me to realize that he is the one singing since he blends in so well. I love that beat drop towards the end, and this track showcases the talent Tyler has in arranging little details in the production that you wouldn't hear from many other artists.
EARFQUAKE is a track that does not need discussion, as it is a huge track, by far the biggest on the album. His singing, while imperfect, holds a unique beauty that I've never heard before, and this is a recurring case time and time again throughout the album; imperfect production, singing, vocals, and song structures, yet all composed and brought together in a way that complements each other and somehow works together seamlessly
At this point, Tyler has fallen into the pit of helpless love, but he doesn't fully understand that yet. I THINK sees Tyler further digging himself into this hole that will later be harder to get out of as more time passes by. This is one of my favorite tracks sonically, and it's hard not to see why. The catchiness of the production, the vocals on the chorus, and the oblivious implementation of "play", which I decrible, and the ability to let the song be its own thing freely and not shy away from ambition in the vocal inflections, production, and other song choices that could drastically change the trajectory of the track. The bridge on this song is one of my favorite moments on the entire album.
RUNNING OUT OF TIME to me is when Tyler falls back into reality. Not fully yet, but he is realizing the state of the relationship. Being stuck in a love triangle where he is in love with a man (who is secretly closeted), but the man is developing a relationship with another person, a woman, leaves Tyler with the conclusion that he does not have much time left to change his lover's mind. Again, He is technically imperfect on this track, but that is not a burden on this track; rather, it is a strength. His vocals complement the instrumental so well, and that beat drop? Absolutely incredible.
NEW MAGIC WAND was my introduction to Tyler, The Creator. I've always liked this song, but I don't think I loved it until I saw him perform it on his CALL ME IF YOU GET LOST tour live. It was incredible. Tyler is full of envy on this track, resorting to wanting to kill the woman in the love triangle so he can be with his lover. He is convinced that the woman ruined his relationship. This feeling does not stick, however, as in the following tracks, these feelings of revenge do not truly evolve into something greater, signaling that the feeling that he dealt with on this track was just part of an episode, like a short, but tall wave that he later overcame.
A BOY IS A GUN* is my favorite on the album; it has truly changed my life. It is the first time on the album where Tyler truly grasps that it is the best thing to let go and move on. He questions why he always runs back to his lover, knowing that he does nothing but harm to Tyler, and in the end, Tyler lets go and tells his lover to stay away.
PUPPET is kind of like a withdrawal. Tyler does not feel like a sense of regret (at least not yet) that he told his lover to stay away, but rather he feels as if he cannot stay away because he is a puppet of his lover; his fate, actions, and emotions are under the control of his lover. Kanye West has a verse on the track, but it was too short to make anything out of it since it is a quick in and out.
WHAT'S GOOD feels like a coping mechanism in a way. Tyler knows he is struggling with not being able to move on, and he is trying to cope with that realization by reaffirming his position that he is okay and that he is better off without his lover, even though that is obviously not the case.
GONE, GONE / THANK YOU is essentially Tyler's real goodbye, asserting that his love is gone, he is happier and at peace, and that he is thankful for the experiences that came with his relationship. But is it really a goodbye, or is it more of a way to be able to cope with the loss of a relationship with his lover, whom he thought was the one for him?
The short answer is that it is the latter, as I DON'T LOVE YOU ANYMORE seems even more like another coping mechanism, basically convincing himself he does not have feelings for this man anymore. He even questions the concept of moving on and foreshadows the concept of the cycle and being "stuck in forever".
The finale, ARE WE STILL FRIENDS? is basically Tyler's last resort in getting something out of the whole experience. If he could not salvage his relationship with his lover, could he at least keep their friendship? It is truly an epic finale that does not function as a finale to the concept.
That is because there is an interlude that I haven't mentioned, that being EXACTLY WHAT YOU RUN FROM YOU END UP CHASING, coming after I THINK. Taking this interlude and the other tracks into consideration, it becomes clear that the album loops.
Lyrically, conceptually, and sonically. The Intro states, "They gon feel this one", hinting that the mindset coming into this relationship is that this relationship is the one that will work out, leaving Tyler in this endless cycle of hope that is never fulfilled. Overall, this is an album that I appreciate so much and have and will forever consider one of my favorite albums of all time.
The Verdict:
This album is truly one of my favorite albums of all time. In fact, it is the album that drove me into exploring music outside of the same 50 songs I was listening to during my middle school days. Though it's not perfect on a technical level, I personally believe that its imperfection is what makes it such an incredible album to listen to. I personally have no complaints about this album, and as a result, I'm willing to give this album a perfect 10/10
Standout Tracks:
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