There have been many sides to Tyler, The Creator’s production over the years. However, with every album he releases, it becomes more and more clear that he is perfecting something that we previously thought was perfect. He can quite literally do everything, truly embodying his moniker, showcasing his talents with the likes of Snoh Aalegra, The Internet, Mac Miller, and Westside Gunn.
Across the last few years, Tyler has shown his ability to produce for all genres, perfectly displaying that on this track. “NEON PEACH” by Snoh Aalegra comes from her stunning 2021 album TEMPORARY HIGHS IN VIOLET SKIES, one of my favorites from the year. Tyler delivers two verses of his own between Snoh’s beautifully sung hooks, each of them matching the tone of the beat. It’s a little electronic, a little Tyler-esque, and a whole lot of grooviness. I love everything about this song, especially the video, which perfectly encapsulates the energy of it.
I aspire to be able to include a reference to The Internet in every article I write, and what better inclusion here than with one of the best tracks ever. While Tyler only produced the first half, “Palace/Curse” is an incredible concept and pulled off masterfully. The track takes place at a house party, with Tyler pretending to be performing as he speaks to a non existent crowd interspersed with vocals from him and Syd. Background noise from the party is subtly layered throughout. It’s not Tyler’s most complex beat, mainly consisting of a vibey combination of drums and synth, but the concept is next level. Although “Curse” was produced by Steve Lacy, I have to include something about it because it sounds as if Tyler was playing a recording of it through the mic – the exact approach that Steve was going for. Words cannot describe how much I adore this song.
A bit of a mixup from his usual producing style, the sample heavy “Party wit Pop Smoke” by Westside Gunn featuring Keisha Plum displays Tyler’s ability to add his own flair to Gunn’s typical go-to. He samples Apple & The Three Orange’s “Moonlight,” combining it with piano and bass riffs and Gunn’s signature ad libs. It’s not my favorite verse from Gunn, however, Keisha Plum delivers a spoken word style verse that takes the track out on a higher note. There’s not much more to say about this track – it’s just really nice to listen to, and Westside Gunn deserves way more love.
As Tyler has said himself, “New Magic Wand” is his best produced track, an accumulation of all the sounds and skills he has gathered during his career. It is brash yet you’re able to connect with it through Tyler’s dark and dramatic message. There are no other words to describe what he accomplishes on the track other than utter perfection, combining sounds that nobody else would ever think of or could possibly dream of pulling off. His vocals, while not his best, seamlessly fit. Slight autotune on the verses give way to explosive, distorted outcries. Suspense slowly builds throughout, rising in volume and extremities that Tyler describes going through in order to be his lover’s one and only. Above all that, it is one of the best songs to ever see live, and I am lucky enough to have witnessed him perform it twice.
I can vividly remember hearing this track for the first time and falling in love. “O.K.” by Mac Miller is a great example of a polished version of Tyler’s earlier production – raw and loud yet cohesive. It’s riddled with well arranged clicks and chimes, focusing heavy on the percussion while expanding to pangs of synth on the chorus. It’s clear that the two just had fun on the track, as Mac raps, “Album filled with all the sad songs / But this the one that I can laugh on.” Tyler goes on to describe a day out with Mac, each describing what they eat before embarking on further adventures. It’s a playful song with playful but deliberate production.