REVIEW: Tyler, the Creator’s ‘The Estate Sale’ sells new dimension to Grammy-winning album

It’s an odd-numbered year. To most, that fact is inconsequential. But to Tyler, the Creator fans, this is a year-long anticipation for the next genre-bending era of the always-evolving artist. 

While there was no word of a new album this year, Tyler decided to gift his fans a taste of his Grammy-winning Tyler Baudelaire persona. Following the recent deluxe album trend, Tyler released “CALL ME IF YOU GET LOST: The Estate Sale” tonight, featuring eight new tracks.

Brett Abrams | Senior Graphic Artist

The album brings a mix of braggadocio and reflective sentiments with soft, high-energy beats. While Tyler’s new songs come off as weaker than the main 16, “The Estate Sale” furthers the story told in CMIYGL in a way that doesn’t seem unnecessary. 

Features by tour opener Vince Staples, A$AP Rocky and YG litter the album with a star-studded cast. Tyler’s next move was unpredictable, but warmly welcomed.


If “Safari” is meant to end the original album on a final note, “STUNTMAN” opens up the deluxe album with an injection of caffeine. DJ Drama’s signature shouting blends with Vince Staples’s flow, creating a chaotic opening mix that pays off when Vince and DJ Drama say: “Are you dumb?” 

Tyler has a nonchalant flow, sticking with his on-brand braggadocio raps about houses that lean and his clean looks. Vince and Tyler exchange verses, mimicking Tyler and Lil Wayne on “SMUCKERS.” It’s not a Tyler, the Creator song without synths. The song’s high energy takes a brief hiatus while synths and DJ Drama carry the bridge into the song’s finale. 

“JUGGERNAUT” is similar in its high energy, anarchic sound — but is more concise. It makes sense that Lil Uzi Vert and Pharrell Williams’s song made the original cut, but my frustration lies in that it wasn’t released prior to the tour where Vince and Tyler could’ve brought the roof of the DCU Center down. 


Immediately off “STUNTMAN,” “WHAT A DAY” makes a smooth appearance that is light and airy. The whistle-like backing track juxtaposes with Tyler’s baritone and lyrics discussing his stresses. He goes from bragging about what he has to sharing that he still feels the pressures of his life. He wants to get away, but does not want to lose momentum (“I am a workaholic and I need to get me some rest / I’d rather get these ideas off, I’d rather not steer off my path”.) The second half of the track shares what he hasn’t done. He’s still true to himself and not influenced easily (“Never had to fit in no lane/ Never wore Beats By Dre headphones to get a video made”.)

The track is right at home with CMIYGL’s established sound, but is somewhat one-sided and underwhelming.


“WHARF TALK” addresses Tyler’s love interest with a production that is like a stroll down a boardwalk on a summer evening. His brags and infatuation are combined in lines like, “I got a new boat, you should come with.” Tyler distorts his voice — almost too much — but it aligns with the bouncy piano and drums, and a chorus that puts the album on the nose (“Come get lost with me”.)

A$AP Rocky reunites WANG$AP with a verse that floats over the production, but it’s cut too short. During the tour, Tyler revealed that “CORSO” was originally written with Rocky in mind, but he ignored the request for five months. When Tyler and Rocky collaborate – as friends or musicians – it’s beautiful. I’m glad Tyler was able to get him on the album.


The first single Tyler released to promote his extended project, “DOGTOOTH,” hits hard. His flow is impeccable and stays consistent throughout its brief two-and-a-half-minute runtime. 

The synths in the background elevate the track subtly, making it really harmonious and multi-dimensional. Clever wordplay is brought out in lines like “​​ring, ring, ring, b*tch, pick up the phone / I don’t care if y’all together, I will tear down a home,” which ties in the relevant theme of infidelity in CMIYGL. 


“HEAVEN TO ME” opens with a sample cut from “Heaven” by John Legend. The repetitive, soulful sound is straight out of a Kanye West song — which makes sense when you see he has a production credit. The song is a beautiful culmination of the album where Tyler looks at his past, present and future.

In the first verse, Tyler appreciates the present, reflecting on when “gas money was stark” and now he has “so many cars.” He says his life is “heaven 24/7” due to his lack of stress. 

The second verse is Tyler painting a scene from his future. He lacks stress and has a family that fulfills him. Tyler depicts a summer day where his significant other, son and daughter are playing with water guns. 

The final verse teleports Tyler to his roots — the Odd Future days when he wore his famous green hat and cheetah print shirt. He reflects on eating fast food, listening to Lil Wayne mixtapes and struggling to find money with Jasper, ending with “I didn’t have much but for certain, I had a dream.”


Listed as a 2020 demo track, “BOYFRIEND, GIRLFRIEND” definitely has influences from the IGOR era, but clearly distinguishes itself from that project. The track is more of a transition between the two albums. 

Following “HEAVEN TO ME” and it’s easy going demeanor, the track brings the energy back toward the back half of the extended project. It’s one of the more unserious tracks. Lyrics like “Yeah-yeah-yeah, you got me stuck like glue / Yeah you got a girlfriend, shit, I’ll f*ck her too, true” show off Tyler’s funny personality. Not to mention YG’s hard-hitting contribution and the catchy chorus.


Possibly the best track out of the seven, “SORRY NOT SORRY” shows Tyler at his most vulnerable. The second single was released a day before the release. It is clear that a lot of heart was put into it. 

The song immediately grabs the listener’s attention with the line “I’m sorry, I’m sorry I don’t see you more / I’m sorry that the four minutes where you see your son could feel like a chore.” The repetition of “sorry” is not isolated to these two lines. It’s an apology letter to people in his life, close or distant, explicit or anonymous. It takes a turn when his apologies seem half-hearted with lines like “I’m sorry I’m pretentious /Sorry that the talent, knowledge, passion isn’t missin’.”

The piano and synths in the background are as grounded as Tyler’s lyrics. The track takes some unexpected but creative pivots, like the textured vocals that come out of nowhere in the middle of the track. Near the end of the track, a rhythmic bass is introduced and builds alongside Tyler’s increasingly louder and passionate vocal delivery until it stops — and resumes to the piano. 

All of what Tyler does well is present in this track. It is the best song to leave the listener to sit with to reflect on the short but adventurous journey the deluxe project embarks on.


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