In Tyler, The Creator’s video for the song “Sam Is Dead,” released in March of 2012, the 32-year-old donned a military uniform and executed his musical alter-egos. At the very end, presumably Tron Cat, Wolf Haley, and of course Sam end up in a ditch. These characters represent his early work: rebellious, unfiltered, and with angst that many can’t imagine him displaying today. About a year after this release came his studio album Wolf, which still dealt with these characters’ narratives and development. However, that album marked the first time that Tyler would significantly redefine his identity as an artist. As a young kid just getting into his world, I never would’ve imagined that “Sam Is Dead” would remain so relevant to Tyler Okonma’s work today. But The Estate Sale proves just that.
Not only does it reiterate his refined musical prowess, but it’s a fresh example of him reclaiming his unbounded identity and skill in ways that his transitions from album to album can’t summarize. Before getting into the meat of the music, it’s important to acknowledge what The Estate Sale is. Per the Hawthorne, Los Angeles native, they're “leftovers” from his 2021 critical hit CALL ME IF YOU GET LOST. He expressed on social media that it’s the first time he showed what he left off of a core album. To put it bluntly, the songs sounded just too damn good. Sure, one could argue that curation is what got Tyler to his career peaks in the first place. Still, CMIYGL is his travel album, and these tracks represent exploration and growth in a similar way.
But how is The Estate Sale different from its parent project? The first thing that listeners could catch is a West Coast-inspired sound that more unabashedly honors Tyler, The Creator’s heroes. YG and Vince Staples give a strong Cali bounce to the breezy “BOYFRIEND, GIRLFRIEND” and the boisterous “STUNTMAN,” respectively. Both beats take inspiration from the work of Pharrell, whether for the former’s funky percussion and melodies or the latter’s bustling 2000s-era rap homage that feels like an unearthed Neptunes beat (Skateboard P actually helped produce this one). Regardless of his influences, T makes each sound his own. A beautiful bridge on “BOYFRIEND, GIRLFRIEND,” for example, makes for one of the expansion’s standout moments. Conversely, the eerie tones and heavy bass on “STUNTMAN” harken back to his early production with a modern sheen.
Other tracks on The Estate Sale, however, feel more characteristic of Tyler’s brand of vibrant and layered hip-hop. “DOGTOOTH,” the expansion’s first single, matches wondrous piano chords with wailing synth melodies, booming kicks, and crisp percs. “WHAT A DAY,” “HEAVEN TO ME,” and “SORRY NOT SORRY” are sample-heavy seas for Tyler, The Creator’s introspective verses to coast over with ease. Finally on the production side, “WHARF TALK” benefits from the high-pitched vocal delivery of albums like CHERRY BOMB and IGOR. He applies those skills with the infectious and soulful melodies of Scum F**k Flower Boy for a dreamy sonic pallet. With a snappy and smooth A$AP Rocky feature, the charming cut emphasizes one of Tyler’s thematic north stars: love.
However, Tyler, The Creator already established the versatility and progressive nature of his production throughout his past albums. As such, the instrumental pallets here definitely feel like an expansion. Hardcore fans could probably link each track to another in his discography. While many might see this as a slight towards The Estate Sale, it’s one due to definition rather than execution. It is just a set of bonus tracks, after all. If you haven’t liked Tyler’s work up until this point, chances are this won’t win you over. Regardless, that doesn’t make these beats any less rich in tone, progression, or passion. There’s something for everyone on this tracklist, from the most skeptical old heads to the recent explorers of the former Odd Future leader’s musical variety.
In terms of The Estate Sale’s lyrical content, this is where the heart of the album truly lies. Whereas his skills as an artist manifested quite vulnerably after Flower Boy, T’s done a good job of detailing his emotions while maintaining a sense of privacy as a celebrity. CMIYGL is his reflection on success and recognition; The Estate Sale is a reevaluation of what parts of that journey really matter to him. On “STUNTMAN,” he teaches other rappers how to stunt through confidence in their abilities and hard work towards perfecting them. Of course, he does a lot of material stunting on the song, but other tracks illuminate the lines in between. On that note, it seems that what Tyler, The Creator is most proud of on The Estate Sale is his artistry, attention to detail, and his financial and personal freedom.
For every expensive brand drop, there are lines on songs like “WHAT A DAY” that show where his true gratitude lies. “So many white diamonds, yеah, I got jungle fever / But thеy didn't raise me, so shout out Black women.” He thanks his friends for their advice, his family for their support, and his fans on the short intro “EVERYTHING MUST GO” for all his accolades. His focus is on individualism, creative liberty, and being able to support those around him. On “HEAVEN TO ME,” he reflects on three versions of heaven: the one he’s living, the one he wants to live in the future, and the one he lived as a teenager entering the industry. Along the way, he held true to what he wanted in each moment, while also allowing himself to change how he achieved his biggest dreams.
That gratitude even shows up sonically through his surprising (which is, at this point, unsurprising) choice to include two tracks from other producers. Madlib’s gorgeous sample flip on “WHAT A DAY” is a previously unreleased beat that a teenage Tyler skated home to. Meanwhile, “HEAVEN TO ME” boasts production from Kanye West, a progenitor in T’s artistic lineage. The instrumental's tenderness and Tyler’s appreciative delivery makes for one of the sweetest tracks in his whole discography. What’s more is that he’s one of the few artists to wear his influences on his sleeve as stylishly and uniquely as the influences in question. Even the demo quality mix on “BOYFRIEND, GIRLFRIEND” and the boyish vocal performance on “WHARF TALK” harken back to some of his best work. Reflecting on his evolution is almost corny at this point. Tyler proves he’s much more than the sum of his many parts.
In the much-discussed video for “SORRY NOT SORRY,” Tyler kills his alter-egos again. This time, it's as a shirtless and presumably raw version of himself. His seven personas, shown simultaneously, represent his seven albums, stating that each era is relevant and still within him. Over drama-tinged and grand production, he apologizes for all the things he did to succeed. Some apologies, like those to his mother and romantic partners, come across as sincere. Others, like those aimed at critics, are laden with unapologetic attitude. Throughout the track, he emphasizes that he can’t fully regret his choices, and selfish isn’t the word, either. By the end, all that’s left is Tyler Okonma, and like that, another era fell upon us. As he closes The Estate Sale, he stands as his biggest cheerleader. Through seven excellent and unique tracks, he inspires generations before and after him to cheer for themselves, too.
