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This is Tyler's best album to date. He allows his listeners to connect with him on emotions and situations and topics he's struggled with growing up, which makes you love Tyler just that much more. Tyler has solidified himself with the best rap has to offer right now, and if his next album is the accessible and new-sounding, he'll push himself into another tier.

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In Who Dat Boy, I used Speed and repetition. Rocky and Tyler repeat the line "who dat boy" so much that they're asking it rhetorically, like "you don't know who we are?" They also use speed to hammer into their critics, making them recognize their skills as rappers that should be known. In November I used sadness and slowness. In this song, he uses slowness so you think about his lyrics and bask in the emotions he's emitting. Also, the concept of slowness is used interestingly. Ratliff states that no note is automatically sad, it's only in context they are. Tyler knows this, and makes 'chippier' notes to sound very sad in the context of the slow speed and his bittersweet lyrics.

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Wolf is Tyler's sophomore album, and very dark and sinister in sound. But, at the time, it was his most introspective. The difference between the two albums couldn't be more stark. In Flower Boy, every song allows you into his mind and personality, giving you something new to think about after each listen.

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Odd Future ringleader Tyler, the Creator has a rap persona pitched between shock-riddled misanthropy and confessional reflection; he's preoccupied with his own press and he uses his music as a vent for anger and frustration. His debut album, Bastard, was filled with sharp darts for rap blogs who wouldn't post his music, while his sophomore album, wanted desparately to prove Odd Future was worth all their sudden hype. In the two years since Goblin's release, Earl Sweatshirt returned from Samoan exile, Frank Ocean opened up about his sexuality in a heartfelt Tumblr note and released the Grammy Award winning Channel Orange, and Tyler unveiled " Loiter Squad", an absurdist late night sketch comedy show. As a group, Odd Future embarked on a series of tours that connected them with an expanding base of teenagers and outcasts even as they drew fire from LGBT advocates, women's groups, and a music press none too amused by the macabre content of their lyrics. A lot has changed, and now Tyler returns with Wolf.

Where Goblin felt like an attempt to shoehorn the whole of Odd Future's nihilist aesthetic into a single album, Wolf pulls back the curtain and reveal the talented introvert behind the music. The first thing to go is the bratty punk fury of earlier material. The insurgent bravado of " Radicals", " Sandwitches", and " French" is scaled back, replaced by songs that flip the conventions of his songwriting inside out. The songs about women are earnest where they used to carry murder ballads' air of ill intent. Drugs come up, but we also hear about a remorseful dealer surveying the havoc he's caused and a man having a mercilessly terrible time while high. Wolf is still the balancing act between gruff cynicism and juvenilia that we've come to expect from Odd Future (especially on "Pigs", a bleak radio play about exacting revenge on bullies), but these songs are more three-dimensional. Tyler's more likely to aim for melody instead of menace.

Wolf as a whole also sounds gorgeous, and that even goes for the bruisers. The polyrhythmic hi-hats of the madcap posse cut "Trashwang" eventually give pause to a piano bridge, and the blustery lead single " Domo 23" gets a bump from a boisterous horn section. Foreboding numbers like "Rusty" (a lush reimagining of 1990s RZA production) and the nightmarish, tribal "Cowboy" are declawed by rich textures and melodicism. "Answer" sets Tyler's longing for his late grandmother and absentee father to a bright guitar figure and shimmering organs. "48"'s crack epidemic reminiscence is adorned with elegant pianos, string stabs, tasteful guitar, and spoken word interludes from Nas. Tyler's pet sounds are dark melodies hammered out on wonky synths and clattering breakbeats but here they come padded with embellishments that give Wolf a cinematic breadth. The album is pretty, but beguilingly so.

There's something not quite right, though, and it's not just Tyler's gritty basso profundo cutting through every melodic flourish. Pacing is one problem. Wolf reprises the winding sprawl of Goblin, hitting its stride on a series of midtempo cuts on the front and back ends but losing steam on a midsection that places too many of its longest and slowest songs back-to-back. "PartyIsntOver/Campfire/Bimmer" marries three unrelated fragments in a manner not unlike Domo Genesis' Rolling Papers, whose passages of short vignettes gave it an off-the-cuff feel. But the pieces here don't hang together, and "Bimmer" is too fleeting of a payoff for the uphill trudge it takes to get there. After that, there's the lengthy "IFHY" ("I fucking hate you," natch.), a bit of Neptunes worship so adroit that its plinking synths and jazzy chord changes give way to a falsettoed coda from Pharrell himself. (The Stereolab-channeling"Campfire" similarly summons that band's Laetitia Sadier for a guest vocal.) Later on, the sedate acid jazz of "Treehome95" and the closing comedown "Lone" are inexplicably split up by the shrill M.I.A. send-up "Tamale". Wolf is full of good songs but in the wrong order.

Still, not all of the depressive sluggishness can be blamed on sequencing. Tyler makes very clear that he doesn't enjoy the trappings of fame. The album is shot through with harsh words for critics, sheepish venue owners, puritanical parents, and groups who've picketed Odd Future shows. But if he's surrounded by detractors, he only has himself to blame. He was bound to be taken for a ne'er do well by a mainstream public who first spotted him in a video eating a roach and hanging himself, to be read for a homophobe after filling his records and tweets with offensive slurs. Tyler should know that we don't get to control the ways our words are interpreted when they leave our mouths to filter out into the universe, and we certainly don't get to be coarse or crass without blowback. Over the length of the album, the defensive can become grating, and Wolf 's rebuttals are pointless anyhow. By now, you either like Odd Future and have figured out a mental workaround to reconcile their more troubling tendencies with their obvious talent, in which case this stuff is moot, or you don't, and this acrimonious self-defense is ill-suited to win you over.

With Wolf, Tyler, the Creator displays a radical growth as a producer, composer and arranger, even if, as a rapper, he's still up to some of the same antics. Still, the album contains a few of the best songs he's ever written. "48" is a wonder, "Answer" and "Lone" delve into deeply personal matters with poise, and "Rusty" is one of the most arresting lyrical performances on the record if you can see past the self-serving chest-beating. It's a big screen rendering of the Neptunes-meet-Stevie-Wonder-in-a-microwave quality of Tyler's earlier works, the sound of a creative mind coming into the possession of the proper means to carry out its ideas. At its best, Wolf manages to make the inroads toward accessibility that Goblin wouldn't and pulls it off without sacrificing too much of Tyler's refreshing capriciousness. When the album isn't busy telling us that we ought to like it more, it's delivering reasons why we actually should.

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Odd Future ringleader Tyler, the Creator has a rap persona pitched between shock-riddled misanthropy and confessional reflection; he's preoccupied with his own press and he uses his music as a vent for anger and frustration.

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In this song, Tyler is stating that you need to find your November, or what makes you happiest in the world - be it a person, hobby, place, etc. This song isn't all happy vibes though, he states that he hasn't been in his November for a while now, and he wants to go back to the time when he was.

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This is the most aggressive album on the album, very braggadocious . Him and A$AP ROCKY both are set in the rap game, but feel like they don't get the respect they should. This is them stating that everyone should know who they are.

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In this album, he's the most vulnerable he's ever been. He's realizing he used to be depressed, but now that he's tackles that, he's okay with talking about it. He also talks about lost loves, and unrequited feelings. Every beat on the album seems open with nice chimes thrown into many of them.

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Flower Boy is Tyler the Creator's fourth album, preceded by Goblin, Wolf, and Cherry Bomb. This is Tyler at his most vulnerable. Instead of masking his insecurities with dark ominous beats and harsh language, the album has a very lighthearted feel except for the two songs he's brash on - Who Dat Boy and See You Again. On those songs, he's stating that he's the best out and everyone should know who he is.