It ended up being nominated for a Grammy. In 2017, he released Flower Boy, an album whose vulnerability and eclecticism represented a major step up-a maturation from young punk to complex young man. Wolf (2013) and Cherry Bomb (2015) explored similar psychological territory with increasing nuance his productions got more sophisticated too, exploring soul-jazz (“FIND YOUR WINGS”), Latin music (“Tamale”) and ’90s R&B (“Awkward”) in ways that were both discordant and colourful, a full rainbow of bad feeling. “And when she gives you lemons, n***a, throw ’em at pedestrians.”) Gritty, nightmarish and barbed, the album established him as a kind of anti-hero: an artist whose bad reputation only made his fans love him more. (“Wow, life’s a cute b***h full of estrogen,” he rapped on the title track. Influenced by the grab-bag eclecticism of Pharrell Williams and his own tirelessly messed-up inner monologues, his official debut, Goblin, came out in 2011. Raised in Los Angeles County, Tyler (born Tyler Okonma in 1991) started experimenting with music in his early teens, co-founding the Odd Future collective in 2007, a group whose members included fellow iconoclasts Earl Sweatshirt, Frank Ocean and Syd Tha Kyd.
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Within a few years, he’d evolved into one of hip-hop’s genuine polymaths, a self-contained brand who not only rapped, wrote, produced and art-directed, but designed clothes and created television shows whose vision-violent, surreal, sarcastic and disarmingly introspective-captured the id of an audience who didn’t know how to relate to their feelings but weren’t going to keep them in any longer.
When Tyler, The Creator first started gaining national notoriety around 2008, it would’ve been easy to dismiss him as cheap shock-a snotty kid willing to push every button (mass murder, rape, cannibalism) just to get a little attention.
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