![]()
7TH LISTEN INTRODUCTION
This is a 7thListen Review, the cultural counter of the beloved and sexy “first listen.” The how, why, when, and where we listen to music impacts our connection to the sounds and visions. If left alone after the first listen, our perceptions are static. We are often limited to few spatial environments in the 40-70 minutes it takes to ingest music and we are limited to even fewer emotional environments. The 7th Listen review posits that an album is a living, breathing piece of work that evolves with the listener.
If a first listen review is the mere ingestion, a 7thListen review is the digestion.
ARTIST SIGNIFICANCE
![]()
Tyler Okonma. Creator (no shit). Visionary. Businessman extraordinaire. The days of Odd Future are long behind us and it makes my skin crawl when I see writers spend more than a line on the collective when talking about any of the now breakout stars. From the second we met Tyler it was clear that he was not only energetic as all hell, he was strategic, and determined to bring success to his whole team.Tyler will admit he is not the best emcee, but he’s probably the best role model for every kid that grew up in the Myspace and Tumblr age. In the time between Bastard and IGOR, Tyler has established himself as the creative of his time. Tyler’s creative output rivals his heroes turned collaborators, Kanye West and Pharrell Williams. He skated like P, designed his own clothes like P and loved instrumentation that didn’t stray away from punk and rock elements. “In Search of” did more for him than “Illmatic.” And it was arguably his Ye influence that inspired, liberated, and motivated him to reinvent himself in every project. Tyler is multi-hyphenate with 10,000 hours in each world — clothes, film, production, art, and most needed in this era of social isolation, live, shared experiences. He has excelled in different lanes and built a cohesive conglomerate.
Following the direction of Flower Boy, IGOR continues the reveal of Tyler the Adult ™ . Tyler makes leaps in lyrical maturity, production, and creative direction, each album more ground breaking than the last. Tyler realized that he didn’t need to scream or repel on every track ( link interview clip). When making Flower Boy, he wanted an album that could serve as the soundscape for any Black LA kickback, and extend past the bedrooms of his listening teenage base that boos Drake.
IGOR, Tyler’s sixth studio album is yet another brilliant exhibition of Tyler’s creativity and his best effort in reinventing himself.
And If you take a macro look at the album, you can see the influences from Tyler’s favorite contemporary artists — Die Lit, When I Get Home, The Ooz. Those albums were more ruminations of feeling than orations of demands. But to don’t get it twisted, between Flower Boy and IGOR, Tyler released a handful of loosies — TipToe, Okra, "BRONCO," "PEACH FUZZ," "GELATO," "OKRA," "ROSE TINTED CHEEKS," "435" and "CRUST IN THEIR EYES" — to remind us that he’s still a rapper.In listening instructions posted on Tyler’s IG, he reminds his followers that IGOR is NOT Bastard, Wolf, or any of his previous albums. It surely is not. He also cautions listeners not to expect a rap album. Despite displaying his ability to rap his natural Black ass off leading up to the release of this album, Tyler does little rapping on IGOR so that is a useful word of caution. One final bit of the IGOR instructions was to listen to the project in different places and with different people, a sentiment that sits at the heart of 7thListen reviews.
Tyler released the first listen guide encouraging his audience to rid themselves of any preconceived notions oft a Tyler the Creator, or any contemporary black album, should sound like. It’s a sign of maturation, an expansion of the palette and references.
TRACK BY TRACK
1. IGOR’S THEME
D: The first chords of this album pulled me in with a similar gravity to the first chords in Marvin Gaye’s “Is That Enough” on his Here, my Dear album. We now know that IGOR is a break-up album while Here, My Dear is a divorce album, with the proceeds going to Gaye’s divorcee. Sonically the connection seems unlikely, but I really do not put anything past Tyler at this point.
IGOR’s theme was supported with visuals leading up to the release of this project. The hook here, laid over drums that inspire the craziest head nod, alludes to the aforementioned instructions. “Riding round town they gone feel this one.” T wants you to experience this album out loud. This track feels good and is a clear indicator that Tyler has gotten even better.
B: Track one sets the tone for the record — the production is the true star here. The track is an instrumental peppered with one hook, “Ridin' 'round town, they gon' feel this one” and live sounding background vocals. The song opens with a 30 sec THX, IMAX trailer of white noise. If you can make it through the intense opener, you’re in for a treat. It's a neck breaking synth that chops&screws your face up like the video trailer disclaimer. IGOR leans pop, but this a hip hop head beat for all the J Dilla followers, The DJ Premier disciples, and the Pete Rock pupils.
Fans were hesitant about the lack of rapping and words on this album, but it’s a sign of growth — Tyler decides to let the beat breath instead of forcing a 16 bar verse on this record.
During 2019, this was favorite record on the album *for individual listening*.
2. EARFQUAKE
D: Ohhh Tyler’s singing. It’s precious at this point. We have heard him say that he wants to be a songbird so bad but can’t stand his voice. It’s outright inspiring to hear that he won’t let that stop him. Plus, he has the ultimate cheat code, Uncle Charlie, behind him here so it sounds great. The keys under the bridge did not present themselves to me until after the 5th Listen. They are now my favorite part of the song. There are also synths that occur that make this song so pretty. Listening to this song, which is surely a favorite along with the obvious “A Boy Is A Gun*”, I actually understand the concept of IGOR. This song beckons a persona, a story, if not for an entire album, at least in the video. Tyler gives us both.
“Earfquake”’s “Don’t leave! It’s my fault“ gives wind to the breakup concept of the album and it’s by far the most fun lyric to recite. “Earfquake” is an excellent track 2.
B: Sing it louder — that’s the consistent thought as the song builds. This song shines as bright as IGOR’s fluorescent suits.
80s pop synths, Charlie Wilson on the hook, PLayboi Carti verse and adlibs, Tyler choosing to sing and not rap — this morphs into something magical and sweet. On the intro Tyler exudes hip hop mastery. On this track he’s channeling the excellence of Berry Gordy and Motown’s Hit factory. Well done, Tyler.
People might forget Tyler’s Anna Wintour wig, but they’ll always remember ‘Earfquake’. Hopefully Tyler doesn’t have a Kanye ‘Gold Digger’ relationship with this record because he will have to perform this at every concert. One of the best love songs and pop songs of 2019.
3. I THINK
D: This is new territory. This is Tyler knocking down the walls of the box niggas were going to try and put on this album. My bop is different to this record, the crackling of the vinyl, the ”skate” ad lib, Tyler losing his mind on the keys. The lyric I wish you would “call me by your name” cause I’m sorry” alludes to the eponymous movie and gives me the thought that Tyler is lamenting the loss of love with another man. Before he was just encountering taboo love affairs and kissing white heartthrobs, now he’s getting serious.
B: Time to dance! Another track that is laced with synths, drums, chords. This is a fun record. Instead of mosh pitting, Tyler fans will hit an aggressive two step. Tyler gives let’s the bridge play lyric-free — I’m awaiting the IGOR album instrumental.
‘I think i'm falling in love, this time i think it’s foreal’, the beat sounds like a love high, but there’s doubt in the lyrics and T is still playing the chase. A preview that this love story is going to end unrequited.
It's offensive I don’t recall hearing this track played in public spaces.
4. EXACTLY WHAT YOU RUN FROM YOU END UP CHASING
D: Jerrod’s a wise cat. This one got past me. Still haven’t theorized a scenario in which this would be true for me.
B: The range of the first three records is outstanding. Track 1 the hits you with an exceptional hip-hop beat. Track 2, the love song of the year. Track 3, Tyler’s best dance record. Act 1 is my favorite trio on the album.
A quick piece of esoteric love advice from comedian and writer, Jerrod Carmichael. Watch his recent HBO specials, after sharing this review.
5. RUNNING OUT OF TIME
D: This is the closest RAP song we have and it’s short. There is indeed a window right after a breakup when you can woo shorty to come right back and God forbid there’s another person in the mix. Is it possible that T’s lover isn’t quite out yet? He invites him to take his mask off and to stop lying to the public while he dates ol girl. The keys here are galactic, jumping from left to right and even the speeding car gives light to the time running out.
A light track compared to the monster behind it.
B: “Wade in your water (Wade in your water) / Your waves wash over me / I drift to the deep end / Don't save, don't save, don't save”
Tyler opens with autotune to remove the bass from his voice. Tyler is submissive and candid with love. “Task your mask off.....stop lying to yourself” — Tyler knows time is running out, but he’s not running from fear. Through this challenge and uncertainty, Tyler is evolving and living his truth.
The finger snaps throughout the song feels like an organic addition after people were rocking out to this beat in the studio. Tyler let’s the bridge play out again. Yup, we need the instrumental.
6. NEW MAGIC WAND
D: What was “Don’t leave. It’s my fault” is now a repetitive “Please don’t leave me now” voicing a hinge of desperation. T wants this girl out of the picture. Years ago, easily a decade ago actually, Tyler said “wtf is a good performance? I just get on stage and have as much fun as I can.” That is this track. IGOR is made for life and motion, while depicting a breakup, arguably one of the most debilitating occurrences known to man. Nothing puts you on your ass like a good breakup and Tyler juxtaposes those feels with dance records, “sing-songey” ballads, and potential skate anthems. It’s genius.
B: “My brother said I'm on the spectrum/ Don't call me selfish, I hate sharin'/ This 60-40 isn't workin'/ I want a hundred of your time, you're mine”
Clever and vivid bars.
Tyler sees a growing relationship between his love interest and his girlfriend, while Tyler’s relationship with the love interest is depleting. The frustration and jealousy is bowling over — the screams are back. IGOR is a pop album, but it’s rooted in truth and doesn’t hide the ugly parts of love. During the song, Tylers dreams of a new magic wand, that would make his love interest’s girlfriend dead.
Two-thirds into the track, an alarm starts ringing cuing the eruption to follow. More screams, more pouts, and thrashing of anything in sight.
In between the screams, Tyler is still singing on the hook and there’s a beautiful beat switch in the middle of the song where he calmly suggests he would kill both his love and his love’s girlfriend. Tyler has lost it, in rage and peace — the sentiment is the same, he’s mad.
7. A BOY IS A GUN*
D: In the words of the Isley Brothers, “I’ll always come back to you”. “A Boy is a Gun*” is easily my favorite track on IGOR and whenever I press play on this album, I at least run this song once. The Kanye chop of the samples in the background. Tyler is rapping. “Don’t shoot me down” “You so motherfucking dangerous” The quotables are endless in this track and I have been enveloped by it from the first time I heard it. The riff at about 2:34 makes me feel warm. The electric guitar reminds me of the new creative liberties he took during this album but it feels like the Tyler I’ve come to know and love.
B: This is the sonic and cinematic apex of the album. IGOR wants to break away from the relationship and his emotional dependence to it by attempting to leave, “I ain't takin' you home, yeah, I'm brushin' you off / 'Cause this parka is Comme, you're my favorite garçon” and tapping into his hubris, ‘Let’s see if you around the GoD, next year’
Everything on this track — the mixing, the chipmunk background vocals (that might be Solange’s voice mixed), the ending guitar riffs — is lush.
8. PUPPET
D: The album is slowing down and its beauty is blossoming. Shouts out to YE coming in with an ab-lib. I think that he should have left his contribution to that, though. I can’t help but rejoice at the sound of Kanye’s voice but I absolutely abhor when he rap scats. I think that a rough draft verse from him is always best deleted. Such an effort especially rubs me wrong when the last time we heard Ye on a Tyler beat (“Smuckers”), we got the best verse from in years. Furthermore, Tyler is so methodical with this project, to half ass a feature feels negligent.
“You should be honored by my [lackadaisical ass effort]! That I would even show up to this fake shit!”
Moving on. The background vocals are a meadow of sunflowers. In fact, it gives me Stereolab vibes, whose music I was introduced to with the song “A Flower Called Nowhere. This is a Sunflower called Puppet.
B: “i’m your puppet, you control, i don't know me”
Tyler is trying an array of things to win back this love interest. On the previous record he tries to woo him with confidence. But this record he’s submissive again — the ‘please, ‘I’ll do whatever you want, just hear me out’ mood. It is a mopey, diary record. I don't know if Tyler’s love interest ever heard this hook, but Tyler definitely sung this to himself while he was falling asleep. Kanye West is featured on the track, providing more somber lyrics. Kanye’s bars fade away into the sky, like a majority of this song.
The album’s energy levels leading up to this track have been so high, so I’ve skipped this record a few times. The beat is comforting and this song is a nice cleanser to progress the love story.
9. WHAT’S GOOD
D: I want to fucking move. And I want to move with not an ounce of respect for the personal space of the people around me. “Hard to believe in God when there ain’t no mirrors around.” I think of this bar when I think of IGOR. Tyler has relayed that he works to perfect certain sounds or ideas and I’m reminded of his bar on Cherry Bomb’s “Buffalo” “How many leaders in the house? Well can somebody bring the mirrors out, I'm getting lonely.”
B: “I SEE THE LiGht”
Screams, self-idolization, and a good ole pep talk.
Calling or comparing oneself God or Michael Jordan is a rap pastime. Tyler does both on the track. This demands your attention. And In Slowthai, Tyler found an organized noise sidekick.
We heard inklings on a “Boy is a Gun”. This is a record filled with hubris. No yearning for a love lost or wondering how special the shared experience could have been. Get on your knees & bow to the throne. You are not worthy of my heart. Internal and external flex. Tyler seems to regain his independence?
10. GONE,GONE / THANK YOU
D: I waited for this album to grow on me for days, weeks, months. I am proud to say this is surely the most improved track. I’ve always loved what T does with his voice but the baby, IGOR voice in the beginning of this track was not for me. I can remember that being a pretty big barrier for me liking this song for a while. One thing is certain, what happens in this song after “and now I’m scarred for life” absolutely melts my heart. It is the reason that at the writing of this review it is the only loved track on my Spotify. This track is given a complete rebirth for me. It goes from being a song that I’d tolerate to one of my favorite moments of the album. And of course, Tyler is rapping again and I love it. I promised I’m not a super “lyrical miracle” rap lover but I genuinely appreciate when Tyler raps.
The last moments of “Gone, Gone” leading into “Thank You” are so important. This is the scene that wins the Oscar because it was designed to do just that. This transition is quite possibly the moment when we all realize (read: remember) that Tyler is destined to be Grammy award winner and likely the youngest EGOT.
He finds peace, picks up his things and declares he doesn’t love the evasive and unrequited love he pursued throughout the duration of the project.
B: The high has elapsed. The sun has risen. The self-affirmations have waned. And IGOR has woken up with no-one beside him. Tyler has conceded ....but he’s ‘found peace’ to live his truth. Nas’s ‘Bye Baby’ shares a similar tale with different terms, but both men are proud they gave love a real shot. I doubt two albums ago, we’d get this type of resolve from Tyler.
Cee-Lo — he’s voice is so distorted only the album credits could identify — provides a baby like whimper on the “GONE,GONE” hook. This is another track that plays like a diary entry.
11. I DON’T LOVE YOU ANYMORE
D: Despite how fun it is to say “I don’t love you anymore,” this song doesn’t ever land for me. The guitar is nice, as are the ab-libs. What cannot be overlooked is the cheat code showing himself again. Uncle Charlie’s riff is so important to this song. It is surely the only reason I do not completely skip this track.
Taking a step back. While I may not be as attracted to this song, I realize it’s essential to the resolution of this album, this love story. There has to be a moment of detachment and disdain before there could be a mature transition in relationship or any remnants of closure. I may love you going forward, but I don’t love you the way I used to. Regardless of how tumultuous a love, was it real if when it ends, you don’t at least wonder, Are We Still Friends?
B: Tyler seems fatigued on the record and finally ready to move-in. The best part of this record are the bridges with fading additions from Charlie Wilson and Solange, and Jessy Wilson.
12. ARE WE STILL FRIENDS?
D: Before I even start to describe this track sonically, its concept in itself is the perfect conclusion to this album. It sounds like an oldie but goodie. Are We Still Friends is effortlessly timeless. It’s truly a flex of Tyler’s musicianship.
This album is popular music. Rap album of the year? Are you kidding me? Yes, the album deserves to be awarded but boxing it as a Rap album is as tone deaf and disingenuous as the Golden Globe Awards nominating Get Out for Best Comedy award.
I digress.
Despite all of the heartache he endured throughout the project, he still wants to be in contact with his love because not talking to them would surely hurt worse. He gets help from P, electric guitars sing, Tyler yells, and the album’s ending propels you back into IGOR’s theme for another go around.
B: My least played song on the record. It’s the ending credits of an emotionally draining film or the song play at church as everyone transitions outside the sanctuary for parking lot fellowship. I don’t have much to say about this track. It’s a straightforward conclusion. Did Tyler make this with that intention? It’s like the listener and his ex-lover don’t hear his last words….
FINAL THOUGHTS
D: This review started within minutes of IGOR dropping and I finished my first final draft just short of a year after its release and it’s still growing on me. I found that the lyrics do not make the signature leap forward on this project and quite frankly, it is the first time I haven’t been sent into the street elated and incredulous at Tyler’s gifts.
For the first few months, the album felt distant. The content specifically, while vulnerable, struck me as impersonal. Listening to this album for the first 10 listens I felt like it wasn’t meant for him.
Jermaine Dupri wrote Confessions and entrusted Usher to make the world believe it. Tyler could have easily given this entire album to someone else.
I was used to immediately loving a Tyler album. This is his first slow burn and I appreciate the time that it took me to come around. The sounds of IGOR continued to blossom and wrap themselves around me and I feel like they will continue to do so for months to come.
B: To grasp the full story of IGOR (or any Tyler abum), you have to watch the visuals. Before my first album listen, I was primed for IGOR to be my most played Tyler record — the album advertisements showed a refined, elevated Tyler. IGOR is laced with sonic emotion and feeling. My ears and chest are still buzzing from synths on this album.
IGOR is distinct from every project in Tyler’s Catalog, but as I listen closely, IGOR is reminiscent of my favorite moments in his discography — the funk, soul, and jazz highlights on Cherry Bomb, an album with a confusing rock-metal opening. I’ve always been a Tyler fan but in recent years found skipped over the songs with rough sounds rough and facetious lyrics. But those Cherry Bomb records have a tenderness that is felt throughout IGOR.
In the early months, because I was obsessed with the first three songs, I neglected how grand the middle of the album is. And throughout this year of listening, my repeat song of choice has rotated, a sign of a great album.
7L RATING
D: 7/7
B: 7/7
7L REVIEW GUIDE
Music that stands the test of time and attention reigns supreme for us — especially in an attention economy, where information and media are treated disposable.
We prefer favorite over best. How does this resonate with the listeners? This switches focus to the listeners' relationship with a project, whether that’s in an individual setting or in group experience.
We take a SANKOFA approach to music listening that fosters critical examination, and intelligent and patient investigation, and acknowledges our cultural context. Some projects require time to digest and others create a feeling that we never want to escape us.
Our scale is from 1 listen to 7 Listens. 1: a project we struggled to complete and 7: a project that we’ll revisit periodically throughout life.
