In the six months beginning with the release of Yonkers in 2011 and concluding with the release of his sophomore LP Goblin, Tyler, the figurehead of OFWGKTA, made the jump from interesting up-and-comer to established industry welterweight. With Wolf Tyler lacks the freedom he enjoyed then, but he's gained something much more important. Subtlety. The silly, ugly, hateful play anger of times passed has given way to nuance. Tyler's no longer a naïve brat. This is the most worldly we have seen him. Our host's sharp edges have are now better balanced. It's a good thing.
Sonically Wolf is, first and foremost, a celebration of rapping on drums. The rumble and rat-a-tat on the album's first (proper) track Jamba jolt the album to life. From there, it's relentless. We first heard how crisp Tyler could be on the right drums with Trouble On My Mind. Here, there's more proof. Slater's drums are a mirror image of Jamba's but they aren't put to use for rumbling paranoia. Instead, they are a tool for introspection. Colossus features impossible drums again, this time forming a backdrop for a compelling story of the rise of Wolf Gang including the times when Tyler poses for a photo because “I don't want to be an asshole”.
This is a step beyond where we left Tyler two years ago. Cartoon violence and silly drug talk has given way to engaging content. Good drums have given way to great drums. Wolf is as close as we've heard to a fulfillment of Tyler's promise. He's abandoned most of the silly theatrics and learned to find value in the little things.
