There’s a treatise on police brutality right from the off on ‘Foreword’, and throughout he makes reference to his own mental health with more introspection, and crucially less angst, than ever before.įans will no doubt already be heatedly discussing where ‘Flower Boy’ fits into the overall narrative of Tyler’s layered output. Lyrically, this feels like Tyler’s most accomplished album yet. Frequent collaborators and newcomers come together perfectly to realise his vision Frank Ocean, Lil Waune, A$AP Rocky, Jaden Smith, Rex Orange Country and Kali Uchis. ‘Flower Boy’ boasts a delicately curated line-up of artists who Tyler welcomes masterfully into his world. Tyler continues to grow in his role as a producer. While much of the press on the run up to the album’s release has revolved around lyrics about Tyler’s sexuality - ‘I Ain’t Got Time!’s “I’ve been kissing white boys since 2004” had the Internet going nuts - clickbait journalism feels irrelevant once your ears are basking in ‘Flower Boy’s lush compositions. On ‘Flower Boy’, though, Tyler has perfected his marriage of the two. Previously it felt like as though these two sides have been difficult to reconcile on record the abrasive would often be at odds with the tranquil, particularly on last studio album ‘Cherry Bomb’.
His early output demonstrated an undeniable proficiency for gravelly, shock and awe rap - sure - but the occasional glimmer of beauty on record (‘Bastard’ cut ‘She,’ for example) and ‘Summer Camp’ mixes brimming with the likes of Stevie Wonder, Mariah Carey and Smith Westerns, Tyler alluded to another more delicate sensibility.
There’s always been a duality to Tyler, The Creator’s musicianship that’s made him a compelling proposition from day one.