Anniversaries: Bastard by Tyler, The Creator
Within Bastard, a somewhat modest but meaningful set of tracks displays provocative impulses driven by youthful irritation.
At age 16, Tyler, The Creator started drafting material that would later appear on Bastard, which he released at 18 on December 25, 2009. He first gained attention as part of Odd Future, a Los Angeles hip-hop group recognized for unfiltered words and controversial content. By the time Bastard appeared, he had begun establishing his own identity, blending horrorcore rap with dark humor. He used FL Studio for production and wrote lyrics under nontraditional conditions, even on clothing, to record ideas whenever possible. Throughout these sessions, he focused on stark narratives about family tensions and mental health. This early phase indicated his intent to set himself apart by working independently and with minimal polish.
At the central core of this record, Tyler confronted his absent father through fictional therapy sessions led by Dr. TC, creating a narrative that addressed resentment and disquiet. During the production, he relied on a cracked copy of FL Studio without saving features, forcing immediate decisions and forging a sound-based venture with rough edges stripped down to its core. In addition, he drew from Eminem’s Relapse and the grim aesthetics of horrorcore, embracing unsettling moods rather than seeking polish. Equally noteworthy, he absorbed ideas from James Pants, Nite Jewel, Grizzly Bear, and Clipse, integrating alternative influences, skate culture, and punk elements. Inside the cramped setting known as “the trap,” his skills gained shape as he set in motion an approach that would later trailblaze beyond conventional hip-hop forms and prompt a kaleidoscopic patchwork of musical directions.
“Parade” provides evidence of Tyler’s refusal to embrace adulthood. He describes enjoying youthful freedom instead of settling into predetermined roles. Tyler, a figure navigating this dynamic sphere, highlights carefree choices over conventional maturity. The recurring line about parading in gold emphasizes a desire to remain untamed. “Odd Toddlers” pairs he and Casey Veggies over a Cortex sample from “Huit Octobre 1971.” They deliver confident verses about personal quirks and style adjustments. Tyler, referencing ADHD, switches outfits often. Casey Veggies performs verbal acrobatics, drawing from dictionary-level vocabulary.
On the other hand, “Pigs Fly” combines Tyler and Domo Genesis, addressing improbable aims. Their words are stripped down to core meanings and reference seemingly impossible achievements. Tyler is persistent in avoiding compliance and questions conventional judgments. Domo’s contribution suggests wandering through aspirations. Recurring mentions of flying pigs appear as evidence of rejecting ordinary conclusions. “Blow” reflects Tyler’s darker persona influenced by notorious figures. He portrays manipulative tactics and misdeeds. This slow, unsettling production sets in motion harsh ideas that Tyler confronted in his early venture. The effect produced criticism and fascination alike.
Capturing the essence of Odd Future’s early sound with its raw, beat-driven vibe, “Slow It Down” is a manifesto of youthful rebellion and a critique of the pace of modern life as Hodgy complements this with his flow, pontificating the desire to live life on their terms, at their own pace. “AssMilk” is one of Tyler’s more notorious tracks, showcasing his penchant for shock value through absurd and provocative lyrics. “VCR/Wheels” uses the metaphor of a VHS tape to discuss looking back at memories or perhaps escaping reality with a focus on moving forward or escaping, “Sarah” shows a softer side laced with his signature dark humor, and “Jack and the Beanstalk” showcases Tyler’s storytelling ability, using the classic fairy tale as a metaphor for his rise and the challenges he faces.
At the start, Bastard showcased Tyler, The Creator using forceful beats and antagonistic verses for immediate impact. Years later, work attributed to Flower Boy—sometimes identified as Scum Fuck Flower Boy—exhibited careful construction, openness about selfhood, and expanded musical references. “See You Again” integrated smoother vocal lines and pleasant harmonics, while “Garden Shed” addressed personal orientation plainly. This fine-tuning drew in a wider audience, surpassing his earlier limited reach. Later efforts on Chromakopia contrasted sharply with the bluntness of Bastard. Production integrated multiple layers, pacing, and careful sound selection.
Highlighting introspection rather than provocation garnered serious attention, a Grammy, and proved Tyler had advanced beyond his inaugural, rough-edged phase.