Nazareth Izada/Contributing Writer
Tyler, The Creator has made a career out of being a detached observer. His prior releases, from 2011’s “Bastard” to 2015’s “Cherry Bomb,” have been channels for different personas, offering glimpses of who Tyler Okonma is. It’s on his latest release, “Flower Boy,” that we see Tyler at his most upfront and vulnerable.
“Flower Boy,” initially marketed as “Scum F— Flower Boy,” is all about dichotomy, with Tyler’s newfound realization of his homosexuality as its centerpiece. All of “Flower Boy’s” loneliness and anxiety, as well as its optimism and elation, stem from this reality.
Tyler has been hinting at his identity via tweets for years, but it took “Garden Shed”, the album’s seventh track, for the world to take notice. Its sparse, airy production is beautiful, but also holds an unease that’s reflected in the song’s verses.
Both Tyler and featured R&B star Estelle insist throughout the track that “there’s something more to say.” The line feels absurd for the ex-Odd Future showrunner, who became infamous and was even banned from certain countries for saying too much.
“Garden Shed” establishes that this phase is here to stay. Tyler doesn’t seek forgiveness for his past homophobic tendencies either. It’s simply an acceptance of the truth, and it’s this simple fact that makes it one of Tyler’s most daring works.
However, there are blatant references to Tyler’s sexuality even on tracks reminiscent of his more abrasive work. On “Who Dat Boy” he’s on the search for his own 1995 Leonardo Dicaprio, and raps about “kissing white boys since 2004” on “I Ain’t Got Time”.
Tyler is also aware that this secret has isolated him. Many of his peers quell their emptiness with drugs or women – two things Tyler hasn’t any interest in.
He’s turned to material possession to fill that void, namely expensive cars. “Foreword” and “Pothole” elaborate on this, with the former being about running out of drive figuratively and literally, and the latter being all about “switching gears.”
On “911/Mr.Lonely,” the album’s second single, Tyler is self-aware, admitting that everyone is sick of him rapping about cars, but admits they’re the “only things keeping [him] company.”
Flower Boy doesn’t just speak to the anxieties of coming out, however. “See You Again,” featuring Kali Uchis, is a love song bursting with both the optimism and second-guessing of a new crush.
The lyrics could refer to a boy that doesn’t exist or to someone inaccessible. The song’s chorus asks if he “looks both ways when [he] crosses [his] mind,” suggesting that this is someone is unaware of Tyler’s feelings and perhaps even his identity.
Tyler yearns for an unspecified, idealistic moment in his past on “November,” with the first half of the song spent worrying about fans and accountants and the latter half being a nervous build-up to “Glitter,” where he confesses to his crush.
“Glitter” is infectious with its energy, despite Tyler’s crush being one-sided. It’s a common theme in the gay experience – although unrequited love comes with a hefty emotional toll, it often feels worth it to just finally love who you want to love.
“Flower Boy” is about the unease and the liberation that comes with the truth, as well as the separation of past and present self that comes with it. It puts desolation and exuberance on full display, all the while showing off some of Tyler’s most melodic, intricate production yet.
Self-discovery is both beautiful and grueling, but accepting truth is the only way to “enjoy right now, today”. By accepting himself, Tyler has created his most fully-realized project yet, all the while proving he’s just as much of a “f—— walking paradox” as he always was.
Photo retrieved from Flickr.
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