Tyler the Creator See You Again Aesthetic
Cloaked in a colorfully cartoonish, surrealistic aesthetic that sometimes drifts towards nightmarish, Tyler, The Creator and his music can often be boiled downwardly to their obvious absurdity. His lyrics, also as his imagery, are rooted in exaggeration and artless carelessness, merely the albums he'south released in the by couple of years verify a sure self-sensation and emotional maturity that I would argue, was always there. As his name would advise, Tyler is always creating and producing something. He is the visionary behind everything he's e'er released, and never seems to operate without a certain concept in listen. Though goofy and loud and audacious, it's clear from his music and his videos that Tyler is not above earnestness, sentimentality, or an appreciation of aesthetic beauty.
His 2017 album, Flower Boy, felt like a dream — non necessarily the fever dream of Cherry Bomb, but an introspective journeying partnered with pastels and bumblebees. It's on this anthology that Tyler explores and plays with his sexuality, and perchance unintentionally complicates the foundational aspects of masculinity we see so often in male rappers — in male artists in full general. In the undeniable hit "See You Again", Tyler places himself in a hyper-masculine setting, a far divergence from the trampoline/ass he jumps on in the "Tamale" music video or the terrifying dollhouse in "IFHY". It opens on a nondescript navy-esque transport in the ocean, where several other men march in bang-up rows slowly to the beat. Tyler stands out in a yellow beret and a floral jumpsuit, legs flailing as they march. Earlier the chorus hits, the men all stand to face up the photographic camera and salute, while Tyler tilts his torso slightly off-center and lazily sticks a hand to his forehead — feigning a salute, opposing the gesture. The residuum of the videos from this record play with colors, contrasts, shadows, and impeccable special effects that give this album its cinematic quality. It'due south all together thrilling, visually stunning, and emblematic of Tyler's burgeoning emotional odyssey.
With the apparent awakening shown in Flower Male child, it but makes sense that Tyler's next album would exist an even bolder display of his emotional reckoning. Tyler'south 2019 album IGOR implements the same ruminative softness every bit Flower Male child, but with a sharper, more impatient tone. Songs like "RUNNING OUT OF Fourth dimension" and "EARFQUAKE" hold a sense of urgency and frustration within them, despite their lovely, somewhat delicate composition. While Tyler croons over a soothing melody in "A Male child IS A GUN", his lyrics expose the harsh reality of a honey lost to circumstance, a lack of agreement, and the ultimate heartbreaker: time. Gone from the cartoon world he normally inhabits in his videos, "A BOY IS A GUN" places Tyler in a luxurious, cavernous mansion, crying out to a boy who's seen packing his bags and heading out the door. The sense of freedom that Bloom Boy brought feels cut short in IGOR, as if a budding bloom was plucked to be admired, only to dice in your hands. His lyrics here are honest and brutal, and his videos once once again position him as the outcast, alongside vibrant people and places. All five stages of grief, with some nuanced extras can exist experienced with IGOR: infatuation, loss, denial, anger, depression, bargaining, eventual credence, and even gratitude. Each vocal details a saga of loves lost and lessons learned — cutting correct to the heart every bit synths and horns cascade around them.
On the heels of these deeply transformative albums comes Tyler's latest masterpiece, Phone call ME IF Yous Get LOST: an exhilarating blend of the aggression and tenderness that Tyler has mastered. Love, rejection, and the terrifying doubt that comes with opening your world upwardly to someone else are all catalogued here, amid his reliably intoxicating melodies. CMIYGL features an equal corporeality of optimism and cynicism, as he details a love story aslope musings about his career, his misunderstandings, and his heartbreak. In the video for "WUSYANAME", Tyler begins telling a story but gets sidetracked when a daughter catches his attention. A curious courtship kickstarts what volition ultimately be a complicated love affair for Tyler, as he later on reveals in "Sweet/I Idea YOU WANTED TO Dance" that their love for each other fabricated them blind to their flaws. In "WILSHIRE" he goes into more detail, how this relationship made him question his morals, his preferences, and his desire to become with the flow of the chaos, despite the inherent urge to swim confronting it. This metaphor of fighting against the electric current is used several times throughout the album, and within Tyler's recent BET Awards operation we see a visual representation of this unrelenting struggle, equally he makes his mode through a powerful and fierce windstorm. In many ways, this anthology is quite similar to Tyler'due south earlier work — his anger, his otherness, his floundering through situations both mundane and circuitous are all on display. These themes are confronted, however, by nowadays-day Tyler, as he reflects on who he once was, and who he remains to be.
At that place'south something eternally youthful about Tyler; his curiosity never ceases and his rambunctiousness shows through his lyrics, also as his imagery. Lovely colors, stylish figures, and dazzling destinations are staples in his music videos at present, always presenting us with idealistic images that could only come from Tyler'due south mind. Videos from Flower Male child, IGOR, and CMIYGL certainly feature some of the Tim Burton-esque qualities that divers Tyler's before style, only he seems to have found a beautiful middle basis with his current artful: somewhere between ridiculous and refined. The recklessness of Tyler's early audio seems so distant from the cogitating sensitivity of Flower Boy, IGOR, and CMIYGL, and from the human he's grown into. Though his early lyrics make reference to control, money, dissing other rappers — no dissimilar from the lyrics of his contemporaries — Tyler has never exactly been a soldier for the patriarchy. His tone, while deep and intimidating, has never seemed administrative or controlling. Tyler is playful, erratically imaginative, and has deviated quite far from the expectations of traditional manhood. If he always makes references to masculinity in his videos and lyrics, it is within humor or hyperbole — forcing us to face the hypocrisy of something held so sacred.
The music Tyler, the Creator has released in the past five years is the personification of his anxieties and triumphs, and a clear representation of his growing comfortability with himself. Even as his epitome shifts from provocative oddball to artistic softboy, it's wonderful to see Tyler'south unique brand of "weird" remain intact every bit he evolves as a creative force. Through his journey as a rapper and maturing developed, hints of his influence tin can be seen in performers similar Lil Nas X, who through their music and imagery accomplish and then much more just self-expression, merely a brilliant and inspiring self-acceptance as well. Nosotros're unlikely to meet Tyler's sense of humour or arbitrary attitude fade, but if his music is whatsoever indication of his growth every bit a human existence, I couldn't be more than excited to see where Tyler'southward journey takes him, and the music industry.
Source: https://film-cred.com/the-aesthetic-evolution-of-tyler-the-creator/
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