His Instagram bio reads only “indie movie with a budget” – and that’s just about the best way to sum up the way Tyler, the Creator dropped his latest release.
A month ago a video appeared on his followers’ timelines: a collage of 18 (yes, I counted) versions of his head, comb tucked into his flat-top as the fibrillating static synth line of “IGOR’S THEME” grinds over it.
Two days later and it’s backstage footage of a retro chat show. Adorned in a platinum wig, he cuts shapes in front of a glossy curtain, bedecked in a red and white suit.
It’s rustic and kind of D.I.Y. in the hipster millenial way which is so ironic you take it seriously.
A series of murals were splashed across the walls of Joburg in the lead up to the album too.
Talk about quality promo.
The internet responded with appropriate enthused anticipation. This is the kind of ambiguity which has fans scratching for more.
Three days later he released the announcement – and by the 17th of May IGOR had dropped and topped the charts.
Turning hip-hop as we know it on its head with a conglomerate mish-mash of textures which revolutionise the genre entirely, the album is one of those offerings which stands to serve as a pivotal component of turning the angle on 21st century music.
This is the kind of sound and promo which expertly challenges the emblematic music industry angle – and this is what we need more of.