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“DEATHCAMP” is Tyler’s first N.E.R.D.-inspired jam to be worthy of idol Pharrell, as funky and freaky as the best tracks on In Search Of…, and studied enough to even begin with a trademark P instrumental count-off. Which isn’t to say that there isn’t greatness on here. (For what it’s worth, his Tunechi-style punning has reached a new peak, as on the third verse of “2 Seater”: “Them GOLF boys is bad for you like the food at McDonalds / Boy I’m a king and I ain’t lying boy, hakuna matata.”)
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Boyce Watkins, rep-obsessed fellow rappers, and peers too fixated on getting high to create their own Adult Swim TV shows or whatever, but finding little to inspire either the venom or the self-examination that made his first three albums so potent. It’s telling that the album also has Tyler’s least urgent lyrics, taking on predictable targets in old Mountain Dew foe Dr. Never mind that he doesn’t even rap on a handful of tracks even on many of the ones where he does, his voice is either buried under layers of guitars, synths, and production that seems to be actively distracting from the lyrics, or it’s modulated up to an unrecognizable pitch, making him sound like a guest rapper on his own LP. What’s most striking about Cherry Bomb is how muted Tyler’s vocal presence is on the whole thing. But the album loses its momentum with the garbled 74-second interlude “RUN” and the meandering jazz-pop of “FIND YOUR WINGS,” and never totally gets it back - the rest of the record largely careens between mildly intelligible rap dirges and cinematic lo-fi instrumentals, often within the same track, scant on tracks with enough commitment to consistency to make them feel like full songs. At the start at least, it bazookas out of your speakers with the grimy, zombified ’70s prog of “DEATHCAMP” crashing into the fuzz-trap of “BUFFALO” and the swampy funk growl of “PILOT,” a relentless snapping-to-attention opening gambit. It might seem like a redundant mission statement from a dude who led a “KILL PEOPLE / BURN SHIT / FUCK SCHOOL” chant on his major-label debut, but it’s worth keeping in mind for the Creator’s latest, because the rapper’s refusal to toe the line runs deeper than youthful anti-authoritarianism: With each successive release, it becomes more obvious that Tyler is actively fighting against following the blueprint - anyone’s blueprint - for his career, in a way that’s left his music as singular and free-spirited as any rapper of his generation, but in a way that also too often leaves it devoid of purpose.Ĭherry Bomb is both impressive in its ambition and absolutely stunning in its aimlessness, weaving countless genres into multi-part suites but still coming off undercooked in its entirety.
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“I don’t like to follow the rules / And that’s just who I am,” Tyler Okonma plaintively states on “DEATHCAMP,” the opener to his fourth LP, Cherry Bomb.