TYLER, THE CREATOR - CHROMAKOPIA

To answer the question as to whether the album would live up to the hype or not, the opening song “St. Chroma” certainly delivers to the sentiment of this record being one of Tyler’s best. The track employs the magnifying qualities of both the R&B and trap genres, compiled together by a heavenly chorus and somewhat aggressive rap tone, a staple to which the direction of the album moves towards in both greater and subdued extents. The following track, “Rah Tah Tah,” can be viewed in more simplicity, as it clearly molds itself to be a more traditional trap piece and welcomed house-style elements with a majority emphasis on boosted bass and heavy vocal delivery from Tyler, who exclaims to the audience his position as nearing to becoming the biggest rapper in Los Angeles, only second to Kendrick Lamar.

Continuing on to the albums sole single, “Noid,” the theming and messaging of the record becomes more apparent to a fuller facet. Within this track, and throughout the entirety of the record, can be heard a woman’s voice narrating during select few segments of nearly every track, relaying life lesson advice to who the listener(s) presume is Tyler within his state of childhood. “Noid” dwells into Tyler’s personal anxieties and struggles with the fame he has accumulated throughout his decade of music making, along with the worries of how his celebrity status will affect the perception he presents to fans. This is all explored through Tyler’s signature vocal distortion, along with the incorporated elements of jazz with the gentle piano medley and sampled trumpets over the rapping.

Next comes the hypnotizingly gorgeous track, “Darling, I,” a favorite for many on the record along with “Sticky,” a track more in line with the tones of “St. Chroma” and “Rah Tah Tah.” While lacking some of the more substantive, directed messaging seen with later tracks such as “I Killed You” or “Thought I Was Dead,” these songs are a fun and head-rocking experience nonetheless. The emotionally charged and beautifully performed “Like Him,” sounding as if it were an unreleased track right off of IGOR, is a standout. 

With many of these pieces, the theme of love is showcased in both milder and aggressive manners. The slower tempo and angelically melodic tracks are more in line with drawn out instances of being in love with another or with themself, and the process which comes with having to deal with the emotional turmoil that presents. Some are simpler in meaning as seen with tracks like “Judge Judy” and “Balloon,” the latter about loving another for material and personal needs. While “Take Your Mask Off” is a song about finding oneself, album closer “I Hope You Find Your Way Home” is a proclamation to those one loves to hopefully find closure. As opposed to humbler, muted narratives about love, other tracks strike with shock. “Hey Jane” dives into a telling of a pregnancy scare, discussing the whiplash from both the male and female sides. “Tomorrow” translates the concept of morality among life ending and birthing, wrapping notions of fame, love, fears, and wants, with the existentialism of our lives.

CHROMAKOPIA embodies the best elements of what made records such as Flower Boy and IGOR so beloved— not just among hip-hop enjoyers, but music listeners on the whole. From the subtle messaging of growing wisdom to childhood advice, any viewer can find substance in a record like CHROMAKOPIA. With a background of mellow synths, booming drums, soothing jazz and striking hi-hats, Tyler relatably breaks down narratives of finding what makes a relationship with both another and oneself so intrinsically special. 

This review was written by Charlie Bellomo.