Take "New Magic Wand," where he sounds hollowed out by not having his lover completely to himself, then pitches up the vocals to accentuate a lunatic fantasy: "Your other one evaporate, we celebrate." Rather than finishing neatly with the cathartic (if purposefully sickly sounding) "I Don't Love You Anymore," IGOR concludes messily with Tyler asking for a platonic resolution that sounds more like co-dependent exasperation. The wild swings are typified by "A Boy Is a Gun." Over a smudged early-'70s soul sample, Tyler likens his partner to high-risk protection, also "sweet as sugar, diabetic to the first degree," but after being made to feel like a third wheel, repeatedly insists, "Stay the fuck away from me." For each stirring moment, like when all he wants to do is make amends and "chase the sun" on a bike ride through a park, there's one with a uniquely Tyler mix of alarming possessiveness and humor. Lonely." He's on a ruthless rampage in the frantic "What's Good," throwing lyrical elbows at anyone who crosses him, but otherwise, the album's fervid energy concerns a triangular relationship that goes from white hot to ice cold, sometimes within a couple verses. Having found his seam with the Grammy-nominated Flower Boy, Tyler continues to make headway by constructing nearly the entirety of his self-produced follow-up out of songs that ache and swirl like "See You Again" and "911/Mr. this one." Tyler and a motorcade's worth of supporting vocalists fulfill the promise and threat with what plays out, a creatively vital and emotionally heartsick set with as much pain, vulnerability, and compulsion as a classic soul LP.
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