On June 25th, Tyler, The Creator, legal name Tyler Okonma, released his third studio album Call Me If You Get Lost. With 16 tracks and multiple featuring artists, the album has been well received and debuted at #1 on Billboard’s 200 Albums Chart.
The release of Flower Boy and Igor signaled such a big jump in production style that Call Me If You Get Lost seems to fit with the development of Okonma’s style. However, it still has notable differences from recent albums. This album is at its core a mixtape, a departure from past work like concept album Igor. None of the songs are necessarily related, but are loosely tied together by themes of longing, self reflection and improvement, and regret. Some songs are influenced by styles of music like Bossa Nova, a version of samba originating from Brazil, leading us to the conclusion that the album’s loose narrative is set somewhere in South America.
His most streamed song from the album, “Wusyaname,” introduces our love interest (loosely used term) as a taken woman, but the object of the singer’s affection. Here the obsession is conceived, with Okonma saying “You a bright, I’m like a moth, this is not a game,” and the narrative of ultimate impossibility begins at, “If you got a man, you should cut him off.” However, this song also seems to function as a moment in time, or a memory, separate from the rest of the album. Okonma doesn’t seem concerned that this woman is in a relationship with his friend, and seems only interested in getting closer to her.
A large portion of the album details the relationship between the woman and the singer. Songs like “Sweet” and “I thought You Wanted To Dance” relate the gradual change between his obsessive addiction to the romantic interest saying, “Even if you left me stranded my feelings wouldn’t change a bit,” to the realization that the relationship can never function in the way that the singer wants, saying “How could you know what’s best for us? Why am I here, standing alone?” The female voice (Fana Hues) responds, “Him and me got some things that we’re trying, but my energy belongs to you,” leaving Okonma confused and alone.
Songs like “Sir Bauderliare” create a persona of confidence, boasting of, “taking Rolls Royce to see alligators,” and self assuredness, which becomes questionable as we learn later in the album that the singer’s romantic interest is cheating on her significant other, the singer’s friend.
Most of the songs remain unrelated, though, including the arguably most emotionally charged song, “Massa.” The song lingers on Okonma escaping his hometown, and his music changing along with himself. It quickly turns into regret about self-centeredness, saying, “Momma was in the shelter when Yonkers dropped, but I don’t say it,” mixed with self-assuredness, which seems to be a product of his financial stability and success. The song also mentions an unspecified “she” in a line about commitment, something that he ultimately condemns as what makes you “too comfy, a little chubby.” The song ends with reflection on his improvement.
While the album’s songs don’t necessarily center around a singular theme, there are certain metaphors which are extended through the album. Okonma’s work in general can further clue us in on the album’s influence and intention. Drowning, for example, is used often to convey both desperation or heavy emotion. In the transition between songs “Sweet” and “I Thought You Wanted To Dance,” Okonma says, “The plan was to stick my toe in…now I’m drowning.” He is now drowning in emotion. Constant references to warmth and the idea of vacation and relaxation, further paints a picture of the idealism present in Call Me If You Get Lost.
Overall, despite being fairly explicit, this album is accessible to most listeners. Not quite a traditional rap album, but not quite anything else, the album is an experience, a conglomeration of emotions and thoughts that border on obsession. Barstow students, like myself, might enjoy this album, because of it’s simultaneous easy digestibility and complexity. Tyler, The Creator is not far in age from some upperclassmen, making some of the material relatable.
