Tyler, The Creator credited his sixth studio album CALL ME IF YOU GET LOST as his most “personal” to this date. With features from Brent Faiyaz and Pharrell Williams it managed to carefully curate a frenzy fusion of Flower Boy and Wolf, incorporating sprinkles of his older sounds. It took the Grammy prize for best rap album in 2022, after IGOR in 2020, yet its authenticity and excellence did not live up to the uniqueness of IGOR that was so critically acclaimed.
CALL ME IF YOU GET LOST: The Estate Sale was announced via Twitter as a deluxe just four days before its release– alerting followers of new sounds for their forthcoming summer playlists. Tyler added 8 bonus tracks: 7 songs, 1 interlude and 2 singles. The first single ‘DOGTOOTH’ was promoted with a self-directed video promptly after the announcement, providing simplicity with its literal visuals in correspondence to the lyrics. It feels authentic to Tyler’s rapping style; utilising a prideful tone and sexual, materialistic semantics then counteracting it with a hint of familial referencing. He starts with “she can ride my face I don’t want nothing in return” and ends two choruses with “if you don’t know my grandma name then we ain’t really dogs bitch”.
Consistent vulgarity and sarcastic undertones present in the track are also something Tyler’s rapping can be associated with; it is what maintains the light-heartedness of his music despite how personal it can get. Tyler himself referred to ‘DOGTOOTH’ on Twitter, saying it has the “‘Who Dat Boy’ vocal twang”. “Sunny but airy”, this majestic single does not fail to engage with its perky beat and use of piano, already having over 13 million streams on Spotify.
A$AP Rocky’s feature on the RnB track ‘WHARF TALK’ is Tyler’s favourite from this deluxe and might be yours too. Rocky and Tyler have a reputation for the creation of feel-good tracks like ‘Potato Salad’, oozing with vibrancy. ‘WHARF TALK’ accompanies ‘DOGTOOTH’ and the other bonus tracks in providing consistent joviality within the deluxe, diverting from the myriad of genres in the original album. The video presents Tyler traveling on his own with someone imaginary until him and Rocky feature together. Its reflective of childhood naivety in the best way, making you feel its essence of pure innocence.
‘STUNTMAN’ with Vince Staples is an undeniably stand-out track, serving as the ‘I Aint Got Time!’ of The Estate Sale and taking Tyler back to his Flower Boy roots once again. A show-off, Hip-Hop break within the album that might make you think you’re in for a ride before you’re pleasantly surprised by the remaining mellow tracks. Assertive vocals and siren-like commotions in the intro provide a tumultuous delight for the ears that makes occasional comebacks throughout. With a helping hand from DJ Drama on the track, the rapping stunts faultlessly. The flamboyance and materialistic vaunt are more in your face than ever – a classic tuneful boast that is utterly authentic to its genre.
‘SORRY NOT SORRY’, the second single, seems to be the most personal track from this deluxe in terms of its lyricism and video. Tyler takes a break from the self-praise in this final hit, instead using the first part as a confessional in which he holds himself accountable for wrongdoings within his romantic, familial, and platonic relations. He raps melodically, even addressing fans who have been critical of him: “Sorry to the fans who say I changed, ‘cause I did/ Sorry you don’t know me on a personal level to pinpoint what it is.”
Moving on, Tyler contrasts this vulnerability in the second part by acknowledging the extremity of his development and referring to his previous hardships: “Let me see you make a decision I made/ And claim I don’t know about minimum wage or section 8”. Just before DJ Drama and Tyler’s outro, he says “Sorry, not sorry (buck ‘em, buck ‘em)/ I got two words, fuck ‘em”, regretful of his apologetic nature at the start.
Vocals and beats intensify towards the end of the song, likening it to the emotive collapse at the end of IGOR’s ‘ARE WE STILL FRIENDS?’. Simultaneously, the disappearance of Tyler’s characterised eras in the video immaculately present a climax of frustration and rage. The CALL ME IF YOU GET LOST narrative ends when he beats up Sir Baudelaire and reassures fans that there will be new eras!
This single is a perfect final track to the deluxe – it is symbolic of his inner disorder regarding his career and character, which he finalises by returning to his prideful roots and disregarding critique. It provides the individuality and expression that the original album was missing, living up to the supremacy of his previous works.