Call Me If You Get Lost: Tyler, the Creator's return to bravado - but with a twist
Tyler, the Creator has spent over a decade shape-shifting, each album a deliberate evolution (or rebellion) against the last. From the brash horrorcore of Goblin to the lush vulnerability of Flower Boy and the genre-blurring brilliance of Igor, he's proven that reinvention isn't just a phase - it's his entire ethos. Call Me If You Get Lost continues that streak, but this time, Tyler circles back to his roots, bringing along the wisdom (and budget) of an artist who's seen both the gutter and the penthouse.
Here's the thing: this album isn't Igor 2. It's not Flower Boy's sensitive cousin. It's a full-throttle rap flex, narrated by none other than DJ Drama, whose ad-libs place it firmly in the mixtape lineage of Lil Wayne's Dedication series. And yet, it's not just a nostalgic victory lap - it's proof that Tyler's as sharp as ever, comfortable in his own contradictions.
Lyrical swagger meets emotional depth
At first glance, Call Me If You Get Lost is peak Tyler arrogance. He raps about yachts, diamond necklaces, and expensive vacations - things that would've been laughably out of reach when he was living in his mom's house making beats on a cracked version of FL Studio. But underneath the bravado, there's an emotional undercurrent.
Take Wilshire, an eight-minute confessional about falling for a woman already in a relationship. It's raw, unfiltered storytelling, delivered over an intentionally simple loop, as if Tyler hit record and let his thoughts spill. It's one of the most compelling moments on the album - less polished than Igor's heartbreak, but just as gripping.
Then there's Corso, where he boasts, "I got too much self-respect, I wash my hands 'fore I piss" - a classic Tyler line that's both ridiculous and a subtle nod to his meticulousness. He raps like someone who's made it but still needs to remind you how he got there.
The sound of expensive taste
Production-wise, Call Me If You Get Lost is Tyler at his most decadent. The beats are rich with layered instrumentation - soul samples, jazzy interludes, and the occasional flute flourish (see: Hot Wind Blows featuring Lil Wayne, where the beat floats like a summer breeze while Wayne reminds us why he's still untouchable).
Lumberjack flips a grimy Gravediggaz sample, taking Tyler back to his Odd Future-era punch-you-in-the-face energy. But then you get something like Sweet / I Thought You Wanted to Dance, a nearly 10-minute track that drifts from syrupy R&B to reggae-infused grooves, proving he can genre-hop at will without losing his footing.
DJ Drama: hype man or distraction?
Now, let's talk about the most polarizing feature of the album: DJ Drama. For hip hop heads who grew up on his Gangsta Grillz mixtapes, his presence is an inspired touch, solidifying Call Me If You Get Lost as a rap purist's dream. But for casual listeners? His constant shouting might be a bit much.
Does Drama add to the experience? Absolutely. He makes the album feel urgent, almost like you're listening to an exclusive tape Tyler handed you himself. But there are moments - like the luxurious Blessed, where Tyler's reflecting on life's highs - that might've hit harder without Drama's interjections. It's a small gripe, but one worth noting.
Final verdict
If Igor was a left turn, Call Me If You Get Lost is Tyler hitting the gas and cruising with the top down. It's an album made by an artist who knows exactly who he is, flexing his technical rap skills while still weaving in the introspection that's made his music so compelling.
Could it have used a bit more editing? Maybe. But part of Tyler's charm is his controlled chaos. He's never been about making the perfect album - he's about making the album that feels right in the moment. And this one? It feels like victory.
FINAL SCORE: 8/10