Call Me If You Get Lost is the seventh studio album by the American rapper and producer Tyler, the Creator. The album was released on June 25, 2021, through Columbia Records. The album is narrated by DJ Drama and features guest appearances from 42 Dugg, YoungBoy Never Broke Again, Ty Dolla Sign, Lil Wayne, Domo Genesis, Brent Faiyaz, Lil Uzi Vert, Pharrell Williams, Teezo Touchdown, Fana Hues, and Daisy World. Tyler produced the album himself, with additional production contributed by Jamie xx and Jay Versace.

The album marks a departure from the lighter and more soulful aesthetics of Tyler's previous releases Igor (2019) and Flower Boy (2017) in favor of bold beats and raw rhymes reminiscent of his earlier work, influenced by DJ Drama's Gangsta Grillz mixtape series. Genres on the album span hip-hop, pop, jazz, soul and reggae.

Call Me If You Get Lost was supported by two singles: "Lumberjack" and "WusYaName", both of which were released alongside music videos. The album received widespread acclaim from critics and has been described as a mix of styles, with hints of nostalgia throughout its production. Some critics compared the album to his previous release, Igor. It was placed in the top ten's of the best albums of 2021 by multiple publications. The album debuted at number one on the US Billboard 200, becoming Tyler, the Creator's second US number-one album. It won the award for Best Rap Album at the 2022 Grammy Awards, Tyler's second win. In 2023, Tyler released a deluxe version of the album, titled Call Me If You Get Lost: The Estate Sale.

The cover art depicts an identification card for a character named "Tyler Baudelaire". Some critics have taken this as a reference to the French poet Charles Baudelaire. Tyler has stated that this is not true, attributing the reference to Lemony Snicket's A Series of Unfortunate Events, saying that he admired the dynamic between the Baudelaire orphans. According to Matthew Ismael Ruiz of Pitchfork, "Baudelaire, the character Tyler plays throughout the album, is a proxy for Tyler's newfound worldliness—and his inability to leverage that sophistication into the relationship of his dreams." Charles Baudelaire's most famous work, 1857's Les Fleurs du mal (transl. The Flowers of Evil), was "originally banned for being too explicit, and Baudelaire himself was prosecuted for indecency", similar to Tyler's evolution from an "angsty teen spewing filth for shock value into sensitive lover man with a mischievous streak". Luke Morgan Britton of NME also compared the two, saying that both "have been fixated on the struggle between romance and realism, luxury and love, beauty and death, talents and controversies."

Initially, when Tyler unveiled the cover art for Call Me If You Get Lost, people thought that he had taken inspiration from Ol' Dirty Bastard's 1995 album, Return to the 36 Chambers: The Dirty Version, when in actuality he had taken inspiration from "...old passport and travel cards from early 1900s".

NME's Luke Morgan Britton called Call Me If You Get Lost "an all-encompassing culmination of Tyler's ever-varying sound, showing that growth isn't always linear and that artists can be a multitude of things", further saying that the album cements Tyler's place as a "generational talent, one in fine form and continuing to push the boundaries of his vision and kaleidoscopic sound." The Guardian's Alexis Petridis called the album's stylistic lurches both "unexpected and hugely impressive, the product of an artist with eclectic tastes and a disinclination to make music that fits in with prevalent trends." Petridis highlighted synth-pop, soul, reggae and jazz. The Financial Times's Ludovic Hunter-Tilney called the album's production "densely layered and quixotic", saying that "Lemonhead" switches from hard-hitting beats and a babble of voices into easy-listening bossa nova, while "Massa" switches a flute-led jazz routine into stripped-back hip-hop.

In comparison to Igor, The Independent's Roisin O'Connor said "the production here [on Call Me If You Get Lost] is as slick as Igor, though, there's less of a through line. Igor was the devastating pieced-together parts of a broken relationship. Call Me If You Get Lost plays fast and loose with its subjects, relying instead on the music itself to carry listeners through." According to Pitchfork's Matthew Ismael Ruiz, Tyler is more "adept than ever at weaving different ideas into one cohesive song, rather than just smushing them together" on the album. Ruiz described Tyler's production as "toying with movement in the mix, bouncing sounds between left and right channels for an immersive headphones experience." While Call Me If You Get Lost has a very specific underlying narrative lyrically, Ruiz said that the production styles seem to tell the story of Tyler's whole career up to this point: post-Thundercat R&B, a Gravediggaz horrorcore sample, and a Salaam Remi flip comparable to the music of Kendrick Lamar. Ruiz called the album a return to rap following the pop sound of Igor, though notes that Tyler is also "clearly light years away from the skeletal productions of his first few records." Konstantinos Pappis of Our Culture Mag described the album's songs as having "cinematic grandeur and meticulous arrangements that have characterized Tyler's recent material". Pappis also noted that the sound is as "wondrously nostalgic" as they were on Flower Boy.

Craig Jenkins of Vulture also regarded the album as a step back into "the cranky, devil-may-care style and attitude of his [Tyler, the Creator's] early days" while also channelling "all the ways he's changed since then". Jenkins highlighted Call Me If You Get Lost as a departure from the "lighter and more soulful aesthetics of Igor in favor of brash beats and raw rhymes... somewhat after the Gangsta Grillz mixtapes of the aughts and early 2010s." Chris Deville of Stereogum found that Call Me If You Get Lost has influences of hip-hop blockbuster albums, such as The Marshall Mathers LP (2000) and Tha Carter III (2008). Deville also said that "the sheer grandiosity" of the album – "the elaborate cinematic production, the insane cast of guest rappers" – is reminiscent of Kanye West's earlier music. Deville also notes that the samples from various 1990s rappers compare to the golden age of boom bap.