#Ty dolla ign my cabana free
His last studio album, 2015’s Free TC, was a sprawling embarrassment of riches, offering everything from a sweeping piano-and-strings funk ode to Los Angeles (“LA”) to a weirdly poignant guitar ballad concerning Ty’s player status (“Horses In The Stable”) to a dissonant trap anthem that made having “hoes in different area codes” sound menacing (“Blasé”).
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Every Ty Dolla $ign project, then, has found its own way to negotiate and resolve these paradoxes, to varying degrees of success.īeach House 3, his latest studio album, is no different, but it stands apart from any of his previous projects for its strikingly coherent sound and nuanced, confident portrait of Ty’s interiority. Perhaps, most notably, he’s become famous for a persona that’s dismissive, if not utilitarian, towards women and the sex he has with them-but even his nastiest songs are laced with self-aware winks he seems refreshingly approachable in interviews, and he’s protested that he only says “disrespectful shit” because he’s found it gets the best reaction from women he plays songs for them. He makes a point in interviews of clarifying that he’s a singer, not a rapper-but he collaborates with mostly rappers, and his verses hold undeniable bars and a flow that aspiring MCs would kill for. He entered the mainstream on the slick, thumping West Coast “ratchet” productions of DJ Mustard-but deep album and mixtape cuts reveal him to be an attentive R&B craftsman, a multi-instrumentalist neo-soul aficionado with a musical pedigree (his father was a session musician for numerous funk, jazz, and R&B artists). Austin Brown prefers the mountains over the beach.įrom “My Cabana” all the way through last year’s Campaign, Ty Dolla $ign’s existence has long seemed a contradiction in terms.