<p><span><span>- Tyler, the Creator<strong> </strong>returns, sticking to his two year album cycle, with a predominantly rap-focused record entitled <em>Call Me if You Get Lost</em>, after deviating into pop with 2019’s <em>Igor</em>. In a time where no one can travel, it seems Tyler wants to take listeners on a global trip through a narrative and sound that inspires images of a much needed holiday. Hosted by the legendary <strong>DJ Drama</strong>, Tyler strives to deliver his best rapping yet for a hiphop album he’s been chasing his whole career.</span></span></p>
<p><span><span><em>Sir Baudelaire </em>and <em>Corso</em> introduce the team of Tyler and Drama as well as a hint of a return to the production of 2017’s <em>Flower Boy </em>with a focus on jazz instruments, particularly quite gorgeous piano lines. Tyler’s continuing obsession with cars is reiterated straight away with a number of references to his multiple Rolls Royces. The travelling storyline begins here with lines about passports and beach days as well as a hint of conflicted love, to be explored further in the record.</span></span></p>
<p><span><span>Tyler has honed his craft of creating cheesy endearing love ballads as seen in tracks such as <em>Wusyaname </em>and the ten minute double <em>Sweet/I Thought You Wanted to Dance</em>. <em>Wusyaname </em>is full '90’s RNB with Tyler trying his best to be loving over boy-band synths. The track employs <strong>NBA Youngboy </strong>to surprisingly dominate with his best feature to date as he croons and wails over the sultry production. </span></span></p>
<p><span><span><em>Sweet </em>is almost Tyler’s attempt at <strong>New Edition </strong>as he, through advancements in technology, takes a dated production style that no longer works and makes it soar through the air with sun-soaked, golden chords. The song is, of course, sugary-sweet, with lyrics that compare a woman to a certain cavity causing product. <em>Wanted to Dance </em>switches things up halfway through with a surprisingly well-done dub reggae jam, in which Tyler promises to wait for his love. It takes listeners straight to the resort, drink in hand.</span></span></p>
<p><span><span><em>Hot Wind Blows </em>sees both Tyler and Drama reunite with <strong>Lil Wayne</strong>, on what sounds like a boat trip in the Atlantic, after so many career-defining moments with the great MC. Tyler, despite being in holiday mode, is great over the luxurious Euro-esque flute production but it's Wayne who steals the show by far with a jaw-dropping double-time flow on the back of the track. </span></span></p>
<p><span><span><em>Juggernaut </em>is exactly that with A Game features from <strong>Lil Uzi Vert </strong>and <strong>Pharrell Williams</strong>. The track begins with a slower, drum-heavy synth fake out that quickly transitions to the hardest track on the record, one that's so bass-heavy, it’ll shatter car windows. None of the three rappers are exactly saying anything, mostly just bragging about designer clothes, but the delivery is so on point with little defining touches, like each verse having an emphasis on singular letters. If I had to pick a festival DJ filler for 2022, it is absolutely this track.</span></span></p>
<p><span><span><em>Wilshire</em><strong> </strong>is the definition of an epic as Tyler recounts an entire narrative over an airy beat for nine minutes in the vein of a <em>Good Kid</em> era <strong>Kendrick</strong> track. Clearly not learning from his heartbreak during <em>Igor, </em>Tyler yet again gets involved in a love triangle, reiterated in several ensuing skits, however this time he admits he’s more of the asshole as he unsuccessfully attempts to woo a taken woman. The looping beat is droning as Tyler pours his heart out, bar-on-bar, like a diary entry tranformed into spectacular art.</span></span></p>
<p><span><span>This may turn out to be my favourite Tyler record yet, even if <em>Flower Boy </em>still has pretty significant claims on my heart. <em>Call Me if You Get Lost </em>has so many great moments to explore that I can’t even get into here like the bass-heavy <em>Massa</em>, the 2000’s mixtape inspired single <em>Lumberjack </em>or the fantastic reunion with former <strong>Odd Future </strong>member <strong>Domo Genesis </strong>on <em>Manifesto</em>. Tyler’s unabashed celebration of his success is, in itself an unqualified success, and delivers one of the year’s best albums by far. </span></span></p>
<p><span><span>- James Chadwick.</span></span></p>
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