Tyler, the Creator‘s on a roll, having been sharing outtakes for the better part of the last year from his Flower Boy recording sesh, and sprees that have followed since, left and right, pretty much since his critically acclaimed album dropped. His latest is in coincidence with a month of G.O.O.D Music Fridays, as he’s shared a new version of Kanye West and Kid Cudi‘s recent Kids See Ghost album title track, dubbing the new version “CRUST IN THEIR EYES.”
Tyler took to Twitter to share how the track from his friend and colleague, Ye, came to be before sharing, revealing he made it in just one hour:
ye sent me that beat same night i also think his original verse on it is soooooooo fucking good i love his pocket on it and mighty mos sounds great on it ecstatic is a flawless album
With the same passionate and self-aware MO that listeners have come to associate with the rapper over the last few years, the former Odd Future proponent comes through as characteristically clever and collected on his “CRUST IN THEIR EYES,” remix, doing his peers’ work considerable justice — with less than an hour of his creative attention.
Tyler, the Creator is keen on surprises. He’s dropped off a steady stream of one-offs since his deeply personal Flower Boy LP last year, and now, “because why not,” he’s followed a string of tweets with another new one-off track and in-studio video.
ohhh look another thing i had sitting on a hard drive im sharing
“435” samples Saint Etienne’s “4:35 In The Morning” and was recorded while Tyler was on tour in Philadelphia. Albeit brief, clocking in under two minutes, it’s another indication of just how versatile the former Odd Future rapper really is. He’s since claimed that’s it not “an indication of how future things will sound.”
Recently, in a cover story with Complex ahead of his new album, A$AP Rocky claimed that Tyler has already been working on the follow-up to Flower Boy, explaining,“Tyler’s new shit is crazy. I’m not even lying, honestly, sonically he challenged himself in a different way,” he says. “It’s not even like Flower Boy. His next album is a new wave.”
Colombian-born R&B singer-songwriter Kali Uchis has tapped Tyler, the Creator, funk maestro Bootsy Collins, and eclectic jazz outfit BadBadNotGood for her diversified new song, “After the Storm.”
Uchis is preparing to release her debut album this spring via Interscope/Virgin Records, of which this track will be a part of. “After the Storm” is not the first time Uchis and Tyler have worked together on a track, but its funky-melodrama is significantly more prominent than past collaborations “Aunt Wang Syrup Theme Song” or “PERFECT.” “If you need a hero / Just look in the mirror,” Kali sings, while Bootsy ad-libs for affective touch.
“We can find solace in the fact that we have to go through the bad stuff to truly get to the good,” Uchis said of “After the Storm” in a press statement. “Just because you’re losing at the moment doesn’t mean you’ve lost yet. The storm may be scary now but it’s how your flowers bloom later, and paradise is just beyond the rainbow.”
How Day For Night festival achieved curatorial excellence
Houston, Texas’ Day For Night festival has established itself as an unconventional, hyper-sensory utopia. Bolstering an exemplary menu of avant-garde talent, the festival satiates thousands all while blurring the boundaries of performance and offering the utmost in aural phenomena in its industrial warehouse setting.
Day For Night prided itself on its snapshot booking in its third year, by and for the experimentally-inclined. Enlisting artists like Nina Kraviz, Kaytranada, Justice, Jlin, Jamie xx, Mount Kimbie, Solange, REZZ, Nine Inch Nails, Tyler, the Creator, and Thom Yorke, among others, the gathering has situated itself as an unorthodox standout from an at times mundane, and largely counterfeit American festival circuit.
In its immersively emblematic nature, Day For Night’s third edition was a polyamorous union of music, culture, and digital art. It was a multifarious destination, and offered its attendees a mode of escapism while simultaneously defying how they explored their own, as well as others’ relationships with art and reality.
Those who attended were immersed in an epicenter of capitalism’s desolation, i.e the former Barbara Jordan Post Office, only to enter a sprawling industrial wonderland; complete with capacious lasers, fog machines, and immersive visual art open to infinite interpretations. Despite its growing pains, Day For Night was an unparalleled destination in the American festival circuit, protruding the landscape with its singularity in 2017, as it likely will in years to come, too.
Photo Credit: Katrina Barber
Embracement of Reflection: Houston & Beyond
It would be naive to ignore how Houston’s rampantly evolving cultural and developmental environment shaped Day For Night. A look at almost any sect of the city points to hyper-gentrification and a lack of zoning restrictions that are rendering a city of cultural depth increasingly unrecognizable. Festivals have the potential to be the 21st-century’s greatest linking apparatus, and Day For Night embraced multiple methods of coupling reflection in an immensely immersive fashion. Summits delved into socio-political discourse by way of Laurie Anderson, Chelsea Manning, Pussy Riot’s Nadya Tolokonnikova, and more. The gathering challenged its attendees toward an attainment of outward-awareness.
Photo Credit: Charles Reagan Hackleman
Woven into the very seams of artistic discourse at Day For Night was a thread on how the world’s 24-hour loops and radical advances in technology and communication are seamlessly moving faster than behavioral evolution, rendering many helpless in the interim. In a hyper-connected sect of the world, it’s ironically never been easier for one to feel helpless. Day For Night ruminated on how these very advancements can work to foster connections and discoveries in the world which will propel us further as a collective entity.
Photo Credit: Chad Wadsworth
Post HTX Served As A Model Venue
“The way one sees things, and the expectations one brings to a performance, or any art form, really, is completely determined by the venue,” articulated David Byrne of the seminal group, The Talking Heads.
This phenomenon of a concert space shaping context, and in turn, enjoyment, is explored in Byrne’s book How Music Works. Surely, the way in which performances are perceived en masse is in relation to the space they’re experienced in. At times this is an obvious element. Take the Black Rock Desert in Nevada, for example. Burning Man’s sustenance relies on the desert space it resides in, and while this may be an extreme example, space is becoming a deeply entwined element in the worldwide festival circuit. The relationship between attendees and venues is why scenes blossom, and it’s why destination festivals are becoming increasingly popular.
Photo Credit: Sara Marjorie Strick
Day For Night’s decision to place a hyper-sensorial paradise across four stages in a dimly lit, abandoned post office was a masterful one. Ironically, the nucleus of the performance venue were the veins of the warehouse, many of which contained captivating art installations. Unlit hallways that separated the “blue” stage from the intimately circular “yellow” stage, for example, beckoned an art form in themselves. For in these empty spaces, attendees prepared to ascend into visual or aural titillation. Whether it be disco balls adorned from a ceiling in netting, illuminating an entire room, moving mechanical cranes paired to ominous music, or synced screens around a ground level stage, the once-vacant warehouse was flooded with an innate intertwinement of senses.
Photo Credit: Theo Civitello
Exemplary Curatorial Intent
A festival’s success begins in its curatorial intent. Founded in 2015 by the Free Press Houston and the New York-based creative agency Work-Order, Day for Night established itself as a visually immersive music and art festival from the very beginning. By embedding an exploration of the elements of light, space, and sound in its mission, Day For Night has transformed the festival landscape by combining new media art with envelope-pushing musicians. It may still be a young festival, but its surely created a unique experience. Day For Night’s careful selection of artistry and curatorial intent spoke to several sects of music, tech, and art lovers. Planning such a feat does not come without intent or without a deeply embedded audience understanding, though.
Photo Credit: Katrina Barber
Appealing to the experimentally-inclined, for example, Day For Night brought forth Nina Kraviz, who’s on the heels of a momentous 2017, and largely regarded as a queen of techno. The festival also booked her трип (or Trip) labelmate Bjarki. Jlin, who’s set ironically rivaled her longtime purveyor Aphex Twin‘s 2016 DFN appearance, was also a standout experimental act. Her album, Black Origami, was an exemplary experimental record of the past year. Additionally, artists like Forest Swords, Jenny Hval, Shlomo, and Roni Size, all capitalized on the use of live sets as a medium for either outward, emotive release or social commentary.
Photo Credit: Julian Bajsel
Day For Night also booked standout artists like the esteemed Nine Inch Nails, who’ve been touring their immensely accessible EP Add Violence. Solange stunned in her Houston homecoming, merging art and popular culture with an affirming image of black pride and femininity. Cardi B gave the 12-minute performance of the year, encapsulating a tumultuous 2017 with her ominous hit “Bodak Yellow.” Tyler, The Creator gave a fervent performance which was brimming with tracks off his introspective new work Flower Boy. Pussy Riot, Pretty Lights, Justice, and REZZ — with her exceptional Mass Manipulation tour visuals — all expectedly stunned.
Day For Night displayed a keen understanding of the experimentally inclined, but also served as an apt pop culture gathering.In bringing together artists who continue to challenge the status quo, the festival’s curational intent was two-fold — displayed initially by the festival, and then, by each and every artist that performed.
Photo Credit: Ismael Quintanilla
Embedding a Festival Framework for the Future
As more and more festivals continue to emerge on the American festival circuit, immersive affairs such as Day For Night will continue to be a saving grace. It’s one thing to have an exemplary understanding of an audience, but as festival-goers grow into an increasingly digitized world, a means of facilitating connection through art and performance will be needed more than ever. Day For Night blurred the lines between its attendees and artists, it’s an environment where everyone was on an even playing field, as an observer, student of performance, and the outside world itself.
2017 was arguably Tyler, the Creator’s biggest year yet. The OFWGKTA founder released his fourth studio albumFlower Boy back in July to widespread critical acclaim. It saw Tyler hit lyrical stride at the peak of his career through a journey of introspective, self defining tracks.
Tyler, the Creator’s debut Tiny Desk performance was the first time NPR has held a nighttime performance, at the special request of Tyler’s team to light the room themselves.
Tyler and his bandmates perform bathed in a saturation of rich, self lit colors, “What’s your name?” Tyler asks a woman in the crowd. “Nana” she replies. Tyler then motions to his backing choir to sing along, “Nana in this motherfucker” they sing. It’s quite silly, but Tyler and his backing group sing with an impassioned fervor.
The group plays “Boredom,” “See you Again,” and “Glitter” across the twenty minute concert, all songs from Flower Boy. Tyler’s bandmates balance his nonchalant frontman presence with their earnest vocal hymns. Even when he’s joking, Tyler, the Creator seems to hit a soft spot in his audience.