20. Garden Shed (2017)
Written and produced by Tyler, with Estelle providing the glowing hook, “Garden Shed” is Flower Boy’s quiet coming-out parable. Guitars shimmer against warm synth pads and measured drums, building a chamber-soul space where secrets can breathe. The “shed” is both hiding place and womb: a room where feelings are stored until they are strong enough to meet the sun. Tyler’s verses move from coded fear to soft disclosure, and the arrangement mirrors that courage—strings and backing stacks opening like shutters. Lyrically, it treats queerness not as spectacle but as interior weather, honoring privacy while embracing truth. Culturally, the song became a cornerstone for listeners who heard their own slow dawning in his, helping reframe Tyler from provocateur to caretaker of feeling. In his career, “Garden Shed” cleared the path to IGOR’s full-bodied heartbreak and to later songs where boundaries are named without apology. Its influence endures in rap/R&B that treats identity with warmth and design, proving that the most radical gesture can be a well-placed chord.
作詞作曲・プロデュースはTyler。Estelleの温かなフックを得た本曲は、『Flower Boy』における静かな“カミングアウト譚”です。きらめくギターと柔らかなシンセ、落ち着いたドラムで密やかな室内楽ソウルを形成し、“小屋”は隠れ場所であると同時に胎内――感情が外界へ出られる強さを得るまで保管される空間として機能します。歌詞は暗号化された恐れから穏やかな開示へと歩み、弦とコーラスの開放がその勇気を写し取る。スペクタクルではなく“内なる天気”としてクィアネスを扱い、プライバシーを尊重しつつ真実を抱きしめます。文化的には、聴き手自身の“ゆっくりとした夜明け”を重ね合わせる基点となり、挑発者から“感情の世話人”への再定義を後押し。キャリア上でも、『IGOR』の失恋劇や、境界をはっきり言語化する後年の姿勢へ続く道を開きました。最もラディカルな所作は、的確に置かれた和音であり得る――その事実を証明する一曲です。
19. SWEET / I THOUGHT YOU WANTED TO DANCE (2021)
Written and produced by Tyler, this nine-minute diptych is CALL ME IF YOU GET LOST’s romantic epic. “SWEET” is a plush soul daydream—honeyed synths, rubbery bass, and Brent Faiyaz’s featherweight ad-libs—where infatuation tastes like dessert. “I THOUGHT YOU WANTED TO DANCE” pivots into lover’s-rock/reggae sway, with Fana Hues answering from the other side of the triangle. The arrangement is patient: modulations, breakdowns, and counter-melodies that let a crush expand into a travelogue. Lyrically, Tyler stages a polite heartbreak—no villains, just misaligned timing—and interrogates consent and expectation: did we hear the same song? Culturally, the piece broadened his palette beyond IGOR’s synth-pop into Caribbean cadence and classic slow-dance tradition, becoming a centerpiece of the tour’s emotional arc. For his career, it cemented him as a composer of suites, not just singles, and as a curator of voices who writes for timbre as much as words. Its influence shows up in long-form alt-rap/R&B tracks that stretch courtship into multi-part narratives without sacrificing replay value.
作詞作曲・プロデュースはTyler。Brent FaiyazとFana Huesを迎えた9分の二部作で、『CALL ME IF YOU GET LOST』のロマン派大作です。「SWEET」は蜂蜜のようなシンセと弾むベースにブレントの軽やかな合いの手が乗る夢見心地のソウル。「…WANTED TO DANCE」はラヴァーズ・ロック／レゲエの揺れへ転じ、三角関係の“別サイド”からFanaが応答します。転調やブレイク、対旋律を惜しみなく配し、淡い恋心を旅の記録へ拡張。歌詞は“誰も悪くない”礼節ある失恋を描き、合意と期待のすれ違い――「同じ曲を聴いていたの？」――を問います。文化的には、IGORのシンセ・ポップを越え、カリブの拍とクラシックなスロウ・ダンス感覚を取り込み、ツアーの感情曲線の核に。キャリア上でも、シングルではなく“組曲”を書く作曲家、声色そのものに合わせて書けるキュレーターとしての地位を強化しました。
18. GONE, GONE / THANK YOU (2019)
Composed and produced by Tyler, this two-parter is IGOR’s bittersweet exhale. “GONE, GONE” rides sun-washed chords, chiming guitars, and stacked harmonies as Tyler accepts a relationship’s evaporation—love doesn’t die so much as dissolve. Then “THANK YOU” flips into brighter, faster pocket drums and chopped vocals, reframing loss as gratitude for the time shared. The producer’s hand is everywhere: tape-warped textures, melodic countermotion, and choir blocks that bloom then recede like memory. Lyrically, it abandons blame and chooses release; the heartbreak is processed through arrangement rather than accusation. Culturally, the track distilled IGOR’s thesis—queer longing composed as pop sculpture—and became a fan-favorite for its cathartic live swells. In Tyler’s career, it codified his reputation as an auteur who can turn relationship autopsy into songcraft without sentimentality, letting harmony carry the narrative. Its influence is audible in 2020s alt-pop/R&B that uses layered vocals and soft-focus guitars to metabolize grief into motion.
作詞作曲・プロデュースはTyler。『IGOR』の“ほろ苦い吐息”にあたる二部構成で、「GONE, GONE」は陽光に透けるコードとチャイムのようなギター、厚いハーモニーの上で、愛が“消える”のではなく“溶ける”過程を受け入れます。続く「THANK YOU」はテンポを上げたドラムとチョップされたヴォーカルで、喪失を“共有した時間への感謝”に反転。テープ感のテクスチャ、旋律の対位、咲いては退く合唱のブロックなど、プロデューサー的所作が隅々に宿ります。歌詞は責めを捨てて解放を選び、失恋を“編曲”で処理。文化的には、『IGOR』の命題――クィアな切望をポップの彫刻として構築――を凝縮し、ライヴでのカタルシスで愛される定番に。キャリア上でも、関係の解剖を感傷に頼らずソングクラフトへ昇華できる作家性を確立し、和声に物語を語らせる手腕を決定づけました。
17. IFHY (2013)
Written and produced by Tyler, with Pharrell Williams delivering the aching hook, “IFHY” is Wolf’s centerpiece of toxic devotion. The arrangement swells from toy-box synths to orchestral surges, with live-feeling drums and choir pads that make obsession sound cinematic. Tyler toggles between tenderness and control, admitting, “I fuckin’ hate you—but I love you,” a line that refracts jealousy, fear, and possessiveness into a single, painful chord. The production is storyboarded like a film: dynamic volume rides, sudden harmonic pivots, and a cathartic coda where Pharrell’s falsetto hovers like second-thoughts you can’t silence. Culturally, “IFHY” signaled Tyler’s maturation from shock-rap to authored melodrama, aided by a memorable video that framed love as a dollhouse of surveillance and self-myth. In his career, it foreshadowed the emotional architecture of Flower Boy and IGOR, proving he could sculpt vulnerability without losing bite. The song influenced later alt-rap/R&B to approach messy attachment with maximalist arrangement, treating conflict not as chaos but as design.
作詞作曲・プロデュースはTyler。Pharrell Williamsが切実なフックを担い、『Wolf』における“歪んだ献身”の中心曲です。オモチャ箱のようなシンセからオーケストラ的うねりへと拡張し、ライヴ感のあるドラムとコーラス・パッドが執着を映画的に増幅。〈憎い、でも愛している〉という相反の告白に、嫉妬や恐れ、支配欲が一つの和音として結晶します。ダイナミクスの緻密な制御や転調、ファレルのファルセットが余韻として漂うコーダまで、構成はまさに“映画の絵コンテ”。文化的には、ショック中心のラップから“作家的メロドラマ”への成熟を告げ、監視と自己神話化の人形劇として描くMVも象徴的でした。キャリア面では『Flower Boy』『IGOR』の情緒設計を先取りし、牙を失わずに脆さを彫刻できることを証明。以降のオルタナ系ラップ／R&Bに、混沌ではなく“設計された衝突”として愛着の難しさを描く手法を後押ししました。
16. JUGGERNAUT (2021)
Written and produced by Tyler, The Creator, with guest verses from Lil Uzi Vert and Pharrell Williams, “JUGGERNAUT” is the serrated edge of CALL ME IF YOU GET LOST. The beat is all torque—distorted sub-bass, clipped snares, and synth stabs that recall Neptunes minimalism—while DJ Drama’s ad-libs frame the record like a high-budget mixtape. Tyler snarls through status bars and travel-flexes, but the arrangement stays surgical: sudden drop-outs, panned ad-libs, and a final gear-shift that turns menace into momentum. Lyrically, it’s about scale and self-possession: money and reach as proof of independence rather than validation. Uzi’s double-time sprint and Pharrell’s cool glide widen the color palette without diluting Tyler’s center. Culturally, the track reaffirmed that post-IGOR Tyler could still punch hard, anchoring the album’s campaign of billboards, radio drops, and runway-level visuals. In his career arc, “JUGGERNAUT” sharpened the “jet-set auteur” persona—someone who can pivot from pastel heartbreak to steel-framed bravado—and showed how his producer brain choreographs multiple star energies into one coherent blast. Its influence lingers in 2020s luxury-rap that pairs brutalist low-end with couture aesthetics, proving that swagger and design can share the same chassis.
作詞作曲・プロデュースはTyler, The Creator。Lil Uzi VertとPharrell Williamsが客演し、『CALL ME IF YOU GET LOST』でもっとも“刃”の立った一曲です。歪んだ重低音と切り詰めたスネア、ネプチューンズ由来のミニマルなシンセが駆動し、DJ Dramaの合いの手が“高級ミックステープ”の額縁をつくる。歌詞は規模感と自己掌握――富や移動の自由を「承認」ではなく「自立」の証として提示。Uziの高速ラップとPharrellのクールな滑走が色彩を拡張しつつも、Tylerの核はぶれません。文化的には、『IGOR』後も“強く殴れる”ことを再確認させ、ビルボード展開やラジオ・ドロップ、ファッション性の高いヴィジュアル群の中心を担いました。キャリア上でも、パステルな失恋から鋼のブラヴァドへ自在に転じる“ジェットセット・オートゥール”像を研磨。剛腕ベースとクチュール感覚を併せ持つ2020年代のラグジュアリー・ラップ潮流において、スウェッガーと設計美が同居できることを証明した曲です。
15. OKRA (2018)
Written and produced by Tyler, “OKRA” is a hard, minimalist one-off he called a “throwaway,” built on bass-and-snare thud with eerie piano and string flashes. He raps in a clipped, Valee-inspired cadence, stacking pop-culture references (from Timothée Chalamet to Fresh Prince) and victory bars about Grammys and independence. The vocal is pitched up a semitone, adding urgency without clutter. Lyrically, he closes the Odd Future chapter with wry distance, positioning Golf as the set and himself as a brand with legs beyond any crew. Culturally, the song proved that even Tyler’s off-cycle releases could command attention, aided by a kinetic video that doubled as a Golf le FLEUR* lookbook. For his career, “OKRA” kept the engine hot between Flower Boy and IGOR, reasserting that the arranger could still be a bar-sharp technician at will. Its influence is less sonic than procedural: a blueprint for how a superstar can drop a loosie that reclaims tempo, narrative, and fashion in under three minutes.
作詞作曲・プロデュースはTyler。ベースとスネア主導のミニマルなビートに、不穏なピアノやストリングスが閃く“投げ曲”宣言の単発作です。Valee由来の切り詰めた節回しで、ティモシー・シャラメなどのポップ文化言及や、グラミー／自立を巡る勝利宣言を畳み掛け、声を半音上げて緊張を加速。歌詞では、オッド・フューチャー期を俯瞰しつつ“Golf＝自分の旗”を掲げ直します。文化的には、オフ期でも話題を掌握できることを証明し、映像はGolf le FLEUR*のルックブック的役割も。キャリア上では『Flower Boy』と『IGOR』の間を繋ぐ熱源で、“編曲家”がいつでも“バーテクニシャン”へ戻れることを示しました。
14. CORSO (2021)
Self-written and produced, “CORSO” blasts open CALL ME IF YOU GET LOST with DJ Drama’s ad-libs and a careening, organ-laced beat that samples James Asher’s 1979 cut “Oriental Workload.” The arrangement is all movement—breaks, drops, and choral stabs—while Tyler snarls through a post-breakup victory lap: new houses, new passports, new boundaries. Thematically, it’s rebound as self-definition: build a life so vivid the old one goes quiet. Drama’s bark becomes a narrative device, cranking the volume to drown doubt. Culturally, “CORSO” cemented Tyler’s Gangsta Grillz homage as high design, a jet-set sequel to IGOR’s heartbreak laboratory. For his career, it proved he could weaponize mixtape energy without sacrificing composition; the beat swerves like a sports car but keeps every bolt tight. Its aftershock is felt in rap records that use DJ narration not as nostalgia but as architecture—voice as upholstery, tags as framing nails.
作詞作曲・プロデュースはTyler。DJ Dramaのアドリブと、James Asher「Oriental Workload」（1979）のサンプルを使ったオルガン主体のビートが疾走します。編曲はブレイクやドロップ、コーラスの刺し込みで絶えず推進し、別れを越えた自己定義を吠える――新居、旅券、自分の境界線。ドラマの“声”は疑念をかき消す装置として機能。文化的には、Gangsta Grillzオマージュをハイデザインへ昇華し、『IGOR』の失恋実験室に続くジェットセット篇を確立しました。キャリア上でも、ミックステープの熱量を構築美と両立させる手腕を提示し、DJナレーションを懐古ではなく“建築材”として使う発想に影響を与えました。
13. She (2011)
“She” is written by Tyler Okonma and Christopher Breaux and produced by Tyler. Over smoke-lit synths and slow-jam drums, Frank Ocean delivers a silken hook while Tyler narrates obsessive desire with horrorcore undertones. The song’s tension—lush romance vs. voyeuristic unease—made it Goblin’s most seductive outlier, showing Tyler could score intimacy as well as shock. Lyrically, he blurs fantasy and creepiness, exposing how infatuation can tip into surveillance; Ocean’s croon softens the frame without absolving it. Culturally, “She” foreshadowed Flower Boy’s and IGOR’s tender palettes, presenting early evidence of the arranger-composer he’d become, and giving Odd Future’s chaos a nocturnal, R&B-adjacent counterweight. For Tyler’s career, it broadened his audience beyond provocateur lore and established Frank as his ideal foil—cool breeze against restless heat. The track has aged into a fan-favorite slow burn, a reminder that even in his wildest phase he was already designing rooms for feeling.
作詞はTyler Okonma／Christopher Breaux、プロデュースはTyler。燻るシンセとスロウなドラムの上で、Frank Oceanが艶やかなフックを歌い、Tylerは執着の物語をホラーコアの影を帯びて描きます。甘美さと覗き見の不安が拮抗する緊張が楽曲の肝で、親密さすら編曲できる作者性を早くも提示。歌詞は恋慕が監視へ転じる曖昧域を照らし、オーシャンの声はそれを柔らげつつ免罪はしません。文化的には、後年の『Flower Boy』『IGOR』へ続く繊細なパレットを先取りし、オッド・フューチャー期の混沌にR&B寄りの“夜”の対抗軸を与えました。キャリア上でも、挑発者像を越えた作曲家／編曲家としての可能性を可視化し、フランクという最良の相棒関係を確立した重要曲です。
12. LUMBERJACK (2021)
Written and produced by Tyler, “LUMBERJACK” reintroduces his snarling side over a menacing chop of Gravediggaz’s “2 Cups of Blood,” with Gangsta Grillz-style tags from DJ Drama. The beat is granite: clipped drums, tar-thick low end, negative space that turns every snare into a shutter click. Tyler barks status bars with director-level staging, collapsing luxury, menace, and humor into 2:18. Lyrically, it’s a victory lap that doubles as a mission statement for CALL ME IF YOU GET LOST—travel, taste, independence. Culturally, the track kicked off the album’s billboards/voicemail rollout and set the tone for a Grammy-winning era where mixtape theater met couture. On stage (BET Awards) it played like a weather system, confirming he can do spectacle without losing precision. In his career arc, “LUMBERJACK” tightened the screws after IGOR’s pastel confessions, proving the auteur could pivot back to bare-knuckle rap while keeping his designer’s eye. Its influence dots 2020s rap that fuses horror-score chops with lifestyle flexes—mean, but tailored.
作詞作曲・プロデュースはTyler。Gravediggaz「2 Cups of Blood」を荒々しく刻み、DJ Dramaのタグが煽るハードエッジな一撃です。切り詰めたドラムと重低音、余白を活かした設計により、一音ごとに“シャッター”が切れるような緊張感を創出。歌詞は旅・審美眼・自立を掲げる勝利宣言で、『CALL ME IF YOU GET LOST』の設計図を先取り。ビルボードや留守電のティーザー、BETでの暴風演出を含む一連の演出で、ミックステープ的熱量とクチュール感覚の両立を印象づけました。『IGOR』のパステルな自白後に“拳”へ戻りつつも、デザイナー的視線はそのまま――というキャリア上の転舵点でもあります。
11. Potato Salad (2018)
Tyler, The Creator and A$AP Rocky’s “Potato Salad” is a breezy, deadpan flex recorded over Monica’s 2003 track “Knock Knock,” co-produced by Missy Elliott and Kanye West. Tyler and Rocky trade nimble punchlines and in-jokes, turning an industry hangout in Paris into a cipher where chemistry is the point. As a “freestyle,” the record leans on classic mixtape values: repurposing a beloved R&B loop, minimal hook, maximal personality. Lyrically it’s light and witty—brand puns, fashion talk, tour-life snapshots—yet it also telegraphs WANGSAP-era camaraderie between two auteurs who treat style as content. Culturally, the song functioned as a mid-IGOR palate cleanser for Tyler: proof he could still rap rap, minus the pastel melodrama. It also renewed interest in Missy/Kanye’s “Knock Knock” beat for a new generation, underlining hip-hop’s archival instinct. Career-wise, “Potato Salad” keeps Tyler limber between conceptual albums, reinforcing his dual identity as meticulous arranger and bar-for-bar MC. When the suit jacket comes off, he’s still a gym-rat technician—economical flows, exact landings, nothing wasted. The track’s casual excellence helped normalize high-fashion, world-tour vignette rap that’s more about taste and timing than escalation.
Monica「Knock Knock」（2003／プロデュース：Missy Elliott & Kanye West）上で、TylerとA$AP Rockyが軽やかに掛け合うフリースタイル。パリの空き時間をそのまま“化学反応の見せ場”に変え、R&Bループを流用するミックステープ的美学が核です。歌詞はブランドやファッション、ツアー断片をユーモラスに切り取る一方で、WANGSAP的な相棒関係を示唆。文化的には、叙情豊かな『IGOR』期の合間に“まだ本気でラップできる”ことを証明し、原曲ビートへの再注目も喚起。キャリア上では、コンセプト作と作家性の狭間でフットワークを保つ位置づけで、緻密なアレンジャーとバー巧者の二面性を再確認させました。
10. Where This Flower Blooms (2017)
Written and produced by Tyler, with Frank Ocean’s serene hook, “Where This Flower Blooms” is Flower Boy’s mission statement. Sun-lit chords, elastic drums, and granulated synths back a memoir of becoming—from BMX bikes and bedroom beats to luxury cars and creative freedom. Tyler raps with new calma: fewer shock tactics, more craft and self-regard, turning growth into an arrangement choice. The metaphor is simple and potent—let the flower find its light—and the mix breathes to match it; space around the snare feels like sky. Frank’s refrain acts like breeze through the scene, a reminder that arrival is a process. Culturally, the track helped recast Tyler from enfant terrible to a fully fledged composer-producer, inviting listeners who once bounced off Odd Future’s chaos. In his career, it is the front-porch of his mature phase, the place where vulnerability and design meet. Its influence persists in later rap/R&B that treats self-actualization as sound design—chords as growth rings, bass as confidence—and in the courage it lent other artists to pivot publicly without disowning their beginnings.
作詞作曲・プロデュースはTyler。Frank Oceanの静謐なフックを得た本曲は、『Flower Boy』の宣言文です。陽光を浴びたコード、伸縮するドラム、粒立つシンセの上で、BMXやベッドルーム制作から、創作の自由と洗練へ至る軌跡を描写。ショックよりクラフトへ、自己軽視より自己尊重へ――成長そのものを編曲の選択として提示します。「花が光を見つける場所」という比喩は簡潔で力強く、スネアの周囲に広がる“空”のようなミックスがそれを支えます。フランクのリフレインは風のように通り抜け、到達が“過程”であることを優しく示唆。文化的には、“悪童”から作曲家／プロデューサーへの再定義を進め、オッド・フューチャー期に距離を置いた層も引き寄せました。キャリア上では成熟期の玄関口であり、脆さとデザインが出会う場所。以降のラップ／R&Bにおいて、自己実現をサウンドデザインとして奏でる発想――和音は年輪、低音は自信――にも影響を残しました。
09. SORRY NOT SORRY (2023)
Self-written and produced, “SORRY NOT SORRY” from CALL ME IF YOU GET LOST: The Estate Sale is Tyler’s ledger-clearing soliloquy. Over stately chords and snapping drums, he issues apologies—to past collaborators, friends, lovers, fans, and family—then retracts the ones that compromise his growth. The verses move like chapters, each persona (from Wolf Haley to IGOR) getting audited; the video stages those eras physically and ends with “Tyler 2023” silencing IGOR, a symbolic break from codependency with old masks. Sonically, it’s classic Tyler minimalism: piano and choir swells that leave room for consonants to bite. The theme is boundary-making—remorse without self-erasure, ambition without betrayal. Culturally, the track reframed deluxe releases as narrative epilogues and sparked widespread critical praise for its emotional accountability. In his career trajectory, it functions as a mission statement for his 30s: keep evolving, even if it disappoints the versions of you that people loved. The influence is meta: it models how rap auteurs can close a chapter publicly, not with scandal or silence but with craft, clarity, and a camera pointed at the truth.
作詞作曲・プロデュースはTyler。『The Estate Sale』収録の本曲は、清算と宣言の独白です。堂々たるピアノと歯切れの良いビートの上で、過去の共演者や友人、恋人、ファン、家族へ謝罪を述べつつ、自己成長を損なう謝罪は撤回。各ヴァースは人格（Wolf HaleyやIGOR）ごとの監査として進み、MVでは歴代の“自分”が舞台上に現れ、最後に“2023年のTyler”がIGORを静かに終わらせます。音響は余白を生かしたミニマリズムで、ピアノとコーラスの膨らみが言葉の硬質さを際立たせます。主題は境界線――自分を消さない悔悟、裏切らない野心。文化的には、デラックス版を物語のエピローグに再定義し、感情的説明責任の提示として高評価。キャリア的には“30代の行動指針”となり、人々が愛した“過去の自分”を失望させても進化を選ぶ姿勢を明確にしました。スキャンダルや沈黙ではなく、技巧と明晰さとカメラで章を閉じるオートゥール像の手本でもあります。
08. Who Dat Boy (2017)
Written and produced by Tyler with a feral, horror-score beat, “Who Dat Boy” recruits A$AP Rocky for a swagger duet. The production is skeletal and menacing—siren-like synth, trunk-rattling low end, and drums that stomp more than swing—while the lyrics perform self-mythology: craft, fashion, and status flexed with a director’s eye. The infamous video (face-swap surgery; choppy edits) amplified the song’s cinematic dread and solidified Tyler’s auteur reputation beyond music. Thematically, it’s bravado as design: how to build an icon from silhouette, palette, and negative space. Culturally, the track reintroduced Tyler ahead of Flower Boy as both shock technician and meticulous stylist, aligning him with Rocky’s fashion-forward lane and reminding listeners that his bark could still bite. In his career, “Who Dat Boy” set the stage for the album’s duality—public armor versus private tenderness—making the later confessions hit harder. Its influence lingers in the late-2010s wave of rap that borrows from slasher sound design and runway attitude, proving menace and elegance can occupy the same frame. It’s the bolt that tightens the Flower Boy chassis before the album’s warmer engines purr to life.
作詞作曲・プロデュースはTyler。サイレンのようなシンセと轟音ローエンド、踏み鳴らすドラムが支配する“ホラー映画”系のトラックに、A$AP Rockyが合流する堂々のデュエットです。歌詞はクラフト／ファッション／ステータスを素材に自己神話を構築。顔面移植のMVを含む映像設計は恐怖の質感を増幅し、音楽を越えた“オートゥール”像を強化しました。主題はデザインとしてのブラヴァド――シルエットや配色、余白から偶像を組み上げる行為。文化的には、『Flower Boy』前夜に“衝撃の技師”と“緻密なスタイリスト”の両面を再提示し、ロッキーのモード路線とも接続。キャリア上では、後に続く私的な告白との対比をつくり、温度差で胸に刺さる効果を増幅しました。スラッシャー的サウンドデザインとランウェイ的態度を併せ持つラップ潮流にも影響を残し、“威圧”と“優美”が同じフレームで共存し得ることを証明した一曲です。
07. I THINK (2019)
Composed and produced by Tyler, “I THINK” is IGOR’s dance-floor nervous breakdown—lush keys, rubbery bass, clipped drums, and a disco/boogie chassis informed by West African club lineage. Backing vocals (including Solange/Ryan Beatty cameos live and in the stack) turn the hook into a communal chant, while Tyler narrates the slippery moment when curiosity mutates into attachment: “I think I’m falling in love, this time I think it’s for real.” The songwriting fuses pop concision with producerly detail—drop-outs, ghost claps, and micro-switches that mirror the panic of liking someone too much. Lyrically, it frames love as hypothesis under stress; desire is data, but the experiment keeps breaking. Culturally, it became a fan-favorite anchor of IGOR’s live set and a template for indie/alt-rap artists to approach vulnerability through rhythm rather than balladry. In Tyler’s arc, “I THINK” perfects the IGOR formula—queer longing rendered as lacquered groove—bridging the confessional warmth of Flower Boy and the controlled chaos of his later, DJ Drama-scored odysseys. Its aftertaste can be heard in 2020s cross-pollinations where house/disco textures carry diaristic lyrics, collapsing the distance between the club and the diary page.
作詞作曲・プロデュースはTyler。艶のある鍵盤、弾むベース、切り詰めたドラムを土台に、アフロ由来のディスコ／ブギー感覚で“ダンスフロアの神経発作”を描くIGORの要曲です。バックヴォーカルの厚い積層がサビを合唱に押し上げ、好奇心が執着へ変わる滑り台のような瞬間を物語化。「本気で恋に落ちたかも」と繰り返すフレーズの裏で、ドロップアウトや微細な切替が“好きになり過ぎる”不安の鼓動を再現。歌詞は、恋をストレス下の仮説として扱い、欲望というデータが実験装置をしばしば壊してしまうことを示します。文化的には、バラードではなくリズムを通じて脆さに近づく手本となり、ライヴでも定番化。キャリア的には、『Flower Boy』の告白性と、後年のDJ Drama期に見られる制御されたカオスの橋渡しを果たし、“クィアな切望を研磨されたグルーヴで可視化する”IGOR流を完成させました。以降のハウス／ディスコ質感×日記的歌詞の混交にも余波を残しています。
06. WUSYANAME (2021)
Written and produced by Tyler, The Creator, “WUSYANAME” flips 90s slow-jam DNA into a postcard flirt. DJ Drama’s drops frame a plush R&B palette—buttery synth pads, sub-bass glide, and brushed drums—while Ty Dolla $ign layers velvet harmonies and YoungBoy Never Broke Again delivers a surprisingly tender verse. Tyler croons more than he raps, compressing courtship into a road-trip vignette: see someone, shoot your shot, promise a getaway. The song functions as the luxurious, soft-focus side of CALL ME IF YOU GET LOST, proof that Tyler can write instant-entry melodies without blunting his arranger’s edge. Lyrically it’s light, but that lightness is the point—desire as hospitality, romance as concierge service. Culturally, “WUSYANAME” became a summer staple and an on-ramp for listeners who met Tyler through IGOR’s art-pop and stayed for his R&B instincts. For his career, it sharpened the persona of the tasteful jet-setter who can pivot from snarling beats to satin textures, and it broadened feature chemistry—YoungBoy’s verse in particular reframed him for skeptical audiences. The track’s influence reverberates in 2020s alt-rap/R&B that blends mixtape ad-lib energy with grown-and-sexy songwriting, proving sweetness and swagger don’t have to be opposites.
作詞作曲・プロデュースはTyler。DJ Dramaのドロップに導かれ、バターのように滑らかなシンセやうねるサブベース、柔らかなドラムで“90年代スロウ・ジャム”を現代に再編集した小粋な口説き文句です。Ty Dolla $ignの多重コーラスが艶を加え、YoungBoy Never Broke Againは意外なほど繊細なヴァースで応答。ラップよりも歌に寄せたTylerは、出会いから誘いまでをロードトリップの絵葉書に凝縮します。これは『CALL ME IF YOU GET LOST』のラグジュアリーかつソフトフォーカスな側面を体現し、編曲家としての鋭さを保ったまま“すぐ口ずさめる”メロディを紡げる証明。歌詞は軽やかですが、その軽さこそ主題――歓待としての欲望、コンシェルジュ型のロマンス。文化的には夏の定番曲となり、IGOR由来のアート指向で彼を知った層をR&B志向へと橋渡ししました。キャリア上でも、荒ぶるビートからサテンの質感まで自在に振れる“審美家ジェットセッター”像を磨き、特にYoungBoyの客演は彼への視線も更新。ミックステープ的勢いと大人のソングライティングを同居させる潮流にも影響を与えました。
05. Yonkers (2011)
Written and produced by Tyler on a stark, pounding beat and tar-thick bass, “Yonkers” is the anti-polish calling card that detonated his career. Over minimalist horror-rap drums and a wheezing synth, he performs as Wolf Haley, firing off taboo-skewering punchlines and industry disses with deadpan menace. The infamous video—black-and-white, roach, no cuts—made the song viral theater and reframed DIY as shock-auteur cinema. Lyrically, it’s provocation as persona-building: transgressive humor, self-mythology, and the thrill of being unhouse-trained in a sanitized pop era. Production-wise, the track’s negative space is the trick; each snare lands like a camera shutter. Culturally, “Yonkers” blew Odd Future into the mainstream, earned Tyler MTV’s Best New Artist, and sparked debates about boundaries in rap. It also created the tension he’d later resolve: could the kid who burned everything down build anything beautiful? His later albums answer yes, but “Yonkers” remains the origin scar—evidence of a ruthless editor’s ear and a director’s eye. Its influence persists in the 2010s wave of lo-fi, grayscale rap aesthetics and the license it gave young artists to control sound, image, and myth from their bedrooms.
作詞作曲・プロデュースはTyler。無骨に鳴るビートと粘性の高いベース、ミニマルなホラー調のドラムと喘ぐシンセの上で、別人格“Wolf Haley”として冷笑的に放つタブー破りのパンチラインと業界ディス。ゴキブリと白黒映像、長回しのMVは一気に拡散し、DIYを“ショック派オートゥール映画”へと格上げしました。歌詞は挑発を通じたペルソナ構築で、逸脱のユーモアと自己神話化、清潔化されたポップ時代への“飼いならされなさ”の快感。プロダクションは“余白”が肝で、スネアが切れるたびにシャッターが落ちる。文化的には、Odd Futureをメインストリームへ押し上げ、MTV最優秀新人賞を獲得し、ラップにおける境界線を巡る議論を呼びました。同時に、後年に解くことになる緊張も生んだ――「全てを燃やした少年は、美しいものを築けるのか？」。その回答は後の作品群が示す通り“YES”。ただし「Yonkers」は今も出発点の傷跡であり、容赦ない編集感覚と映像的眼差しの証左です。以後のローファイでグレイスケールなラップ美学、そしてベッドルームから音・映像・神話を自己統御する自由にも影響を残しました。
04. A BOY IS A GUN* (2019)
Written and produced by Tyler, “A BOY IS A GUN*” flips the language of danger into the grammar of desire. Built around a tender soul sample (notably associated with “Bound”), the track layers dusty drums, analog keys, and choir pads into a slow-waltz confession. Tyler treats romance as both weapon and refuge: “Don’t shoot me down”—a plea to a lover and to his own defenses. The arrangement keeps tightening—drops, mutes, and background vocals that hover like thoughts you can’t unthink—until the final refrain feels inevitable. As part of IGOR, it advances the project’s queer storytelling with candor and nuance, documenting the asymmetry, jealousy, and bargaining of want. Culturally, the song became a critical touchstone: a mainstream rap figure scoring same-sex yearning without euphemism, and doing so with velvet orchestration instead of brute force. For Tyler’s career, it confirmed him as a composer of feeling first—someone who can make chords argue, then reconcile, inside three minutes. Its influence resonates in later alt-rap and R&B songs that approach masculinity and attachment with softness, without losing bite; a reminder that vulnerability can be the sharpest edge.
作詞作曲・プロデュースはTyler。危険の語彙を欲望の文法へと反転させた一曲で、（「Bound」で知られる）柔らかなソウル・サンプルを軸に、枯れたドラム、アナログ鍵盤、合唱パッドが重なるスロウな三拍子の告白劇です。「撃ち落とさないで」というフレーズは、恋人への懇願であると同時に、自身の防衛本能への呼びかけ。ドロップやミュート、思考の残響のようなコーラスが緊張を徐々に締め上げ、最後のリフレインに“避けられない結末”の重みを与えます。『IGOR』におけるクィアな物語は、嫉妬や不均衡、取引めいた駆け引きを隠喩に頼らず精妙に記録。文化的には、メインストリームのラップ・アーティストが同性愛的欲望を率直にスコア化した重要作として評価され、力業ではなくビロードの編曲で届かせた点が特筆されます。キャリア上でも“感情を作曲できる人”としての地位を確固にし、和声に議論させ、最後には和解させる手腕を示しました。以降のオルタナ系ラップ／R&Bにおける“柔らかい男性性と愛着”の描き方にも余波を与えています。
03. 911 / Mr. Lonely (2017)
Entirely written/produced by Tyler, with crucial vocals from Frank Ocean and Steve Lacy, this two-parter is Flower Boy’s emotional hinge. “911” rides sun-bleached synth-funk and candy-colored drums while Tyler treats the emergency number as a metaphorical hotline for affection—call if you need love. Then “Mr. Lonely” drops into minor-key paranoia: ratcheting hi-hats, organ stabs, and a verse where fame magnifies isolation. The contrast—public brightness vs. private void—maps the album’s core tension. Sonically, it’s a study in palette: sparkling chords and airy falsettos shifting to compressed, anxious low end, yet both halves share Tyler’s crisp drum programming and choral stacks. Lyrically, he names the ache without disowning it; attention doesn’t equal connection. Culturally, the song deepened his image beyond provocateur, helping recast him as a craftsman of feeling and arrangement. It also foreshadowed IGOR’s love-lab a couple years later, where desire and control keep switching places. For his career, “911 / Mr. Lonely” is a thesis: the producer-rapper as architect of rooms—one bathed in sunset, one lit by the buzzing fridge at 3 a.m.—and the courage to walk us through both.
作詞作曲・プロデュースはTyler。Frank OceanとSteve Lacyの要となる歌声が加わる二部構成で、『Flower Boy』の情緒的な要石です。「911」は日焼けしたシンセ・ファンクとキャンディ色のドラムに乗せ、緊急通報番号を“愛のホットライン”に見立てるアイデア曲。続く「Mr. Lonely」は短調の被膜へ落下し、刻むハイハットやオルガンが名声と孤独の増幅を描きます。公の輝きと私的な空洞、その落差がアルバムの緊張を可視化。音響面では、きらめくコードとファルセットから、圧縮された不安のローエンドへと移ろいながら、精緻なドラム設計とコーラスの積層が両者をつなぎます。歌詞は「注目はつながりと同義ではない」という痛みを率直に名指し。文化的には、挑発者像を越えた“感情と編曲の職人”へ評価を拡張し、数年後の『IGOR』における愛の実験室を予告しました。キャリア的には、プロデューサー／ラッパーが空間を設計する建築家である、という彼の命題を最も端的に示す一曲です。
02. EARFQUAKE (2019)
Tyler writes and produces “EARFQUAKE” as a pleading pop-soul miniature: rubbery bass, lacquered Rhodes, and doo-wop-via-808 harmonies. A feather-light verse from Playboi Carti skitters through the mix; Charlie Wilson’s gospel-smoked backing enriches the chorus. The hook—“Don’t leave, it’s my fault”—is both apology and strategy, collapsing pride into pure vulnerability. Musically, it’s deceptively simple: chord voicings and drum programming are pruned until every element feels inevitable, a hallmark of IGOR’s sculptural design. Lyrically, Tyler accepts responsibility as a way to keep love in the room; the song frames accountability as desire. Culturally, “EARFQUAKE” became his first major pop hit and a gateway for audiences who met him not through provocation but through melody. It helped power IGOR to the 2020 Grammy for Best Rap Album while also complicating genre lines—this is soul-pop with rap’s sensibility rather than a “rap single.” For his career, it cemented Tyler as a chart-capable auteur who could translate idiosyncrasy into universality. The record’s influence can be heard in the 2020s blend of woozy retro-keys, clipped drums, and unabashed emotional directness across indie, R&B, and alt-rap—music that lets the beat blush.
作詞作曲・プロデュースはTyler。弾力のあるベース、磨かれたローズ、808経由のドゥーワップ的コーラスで構成された、懇願のポップ・ソウル小品です。Playboi Cartiの軽やかなヴァースが漂い、Charlie Wilsonのゴスペル由来のコーラスが厚みを与えます。「Don’t leave, it’s my fault」というフックは、謝罪であり戦略。自尊心をたたみ、むき出しの弱さへと倒れ込む瞬間です。音作りは驚くほど引き算で、和音の配置やドラムのプログラミングは“必然”だけが残るIGOR流の彫刻的設計。歌詞では、引き止めるための責任の引き受け＝欲望の表明という構図が描かれます。文化的には、挑発ではなくメロディで届いた初の本格的ポップ・ヒットとなり、IGORをグラミー最優秀ラップ・アルバムへ押し上げつつ、ジャンル境界を攪拌。キャリア面では、癖の強さを普遍性へ翻訳できる“ヒットを生むオートゥール”としての地位を確立しました。以降のインディ／R&B／オルタナ・ラップに広がる、揺らぐレトロ鍵盤＋切り詰めたビート＋率直な感情表現の潮流にも影響が聴き取れます。
01. See You Again (2017)
Written and produced by Tyler, The Creator, with a luminous guest hook from Kali Uchis, “See You Again” is Flower Boy’s warmest daydream: retro soul chords, pillowy synths, pocket drums, and cinematic strings framing a love that exists best in imagination. Tyler’s arranging is meticulous—call-and-response vocals, key changes that feel like windows sliding open, and a bridge that swells like a crush turning into a private universe. Lyrically, he negotiates distance and fantasy: the perfect partner appears only “in my dreams,” so longing becomes a safe habitat where rejection can’t reach him. The track crystallized Tyler’s pivot from caustic shock rap to lush, vulnerable songwriting; it’s also a showcase of his self-contained auteurism—composer, producer, and vocalist in one. Culturally, the song became a modern sing-along standard (and a live highlight), helping reframe Tyler for broader audiences who might’ve missed Odd Future’s chaos. In his career arc, it marks the bridge from the confessional warmth of Flower Boy to IGOR’s fractal heartbreak: romance as design practice. Its influence lingers in the wave of bedroom-soul and soft-focus R&B that treats intimacy like world-building, and in the permission it gave rappers and producers to score feelings with pastel grandeur.
作詞作曲・プロデュースはTyler, The Creator。Kali Uchisの瑞々しいフックを迎え、レトロなソウル感のコード、柔らかなシンセ、タイトなドラム、映画的なストリングスで、 “空想の中で最も美しく成立する恋” を描きます。掛け合いのヴォーカルや、窓が開くような転調、胸の高鳴りが小宇宙になるブリッジまで、編曲の細やかさが印象的。歌詞は距離と幻想の折り合いをつける物語で、「理想の相手」は「夢の中」に現れるから、切望は拒絶から身を守る聖域になります。これは彼がショック主体のラップから、豊かで脆いソングライティングへ舵を切った象徴であり、作曲・制作・歌唱を一人で統合する“オートゥール”性の証明でもあります。文化的にもモダンな合唱曲として広く浸透し、オッド・フューチャー期の混沌を知らない層にも評価を拡張。キャリア上では『Flower Boy』の告白的な温度から『IGOR』の万華鏡的失恋へ架ける橋であり、親密さを“世界制作”として捉えるベッドルーム・ソウル／R&B潮流にも影響を残しました。