Seven years ago, Californian rapper Tyler, the Creator changed the trajectory of his career forever. Through the early 2010s, his style was defined by edgy jokes and manic personas; but with the release of Flower Boy, he unveiled a softer, more poetic, more vulnerable side to himself. Years on, Chromakopia is the apex of his artistic rebirth.
Tyler’s career has been an eclectic journey through sound and genre. His early work like Goblin and Bastard seldom had any deeper meaning, imploring the listener to gasp and swoon at the surface-level madness of his graphic lyrics. On Flower Boy, he turned his career around with a synth-driven tour through the Creator’s heart and soul. IGOR shone a spotlight on his strength as a singer and storyteller, and CALL ME IF YOU GET LOST reminded fans that he was still a formidable rapper.
Chromakopia is more than just the next Tyler, the Creator album. It’s a culmination of all his artistic growth, bringing together the strengths of all his past projects. From the lush production to Tyler’s unflinchingly vulnerable pen, Chromakopia is a stunning standout in a catalog of masterpieces.
The Eclectic Opening
“You are the light. It’s not on you; it’s in you.” Those are the words that open up Chromakopia, spoken by Tyler’s mother, whose thoughts are laced throughout the record. Those few words sum up the entire theme of the album: for Tyler to embrace himself, remove his mask, and accept that his light comes from his prowess and strength as a person, not from any amount of fame.
The spoken word passage transitions into ‘St. Chroma’, the stunning intro to the album. As a thunder of military footsteps echo in the background, Tyler whispers about fame and success, his tone rife in bitterness and braggadocio. After that, an eruption of soul takes over the track as Daniel Caesar’s gorgeous vocals float over a wave of synth and bass.
Things take an immediate turn on “‘ah Tah Tah’. Tyler’s rapping is ferocious, pairing well with the intense swirl of screeching synths and clattering percussion. Yet again, the soundscape shifts on ‘Noid’, the rock-infused lead single to Chromakopia. The track carries on themes of fame, privacy, and paranoia, performed over a bare instrumental which meticulously builds as the track progresses. After that comes ‘Darling, I’, arguably the best song on the album. A soulful jam all about romance, monogamy, and commitment, the gorgeous backing vocals from Teezo Touchdown transform the tune into a beautiful highlight of Tyler’s career.
The Star-Studded Center
Next comes the middle portion of Chromakopia: a highlight reel including some of the best tracks Tyler has ever made. First comes ‘Hey Jane’, a masterpiece in storytelling about an unexpected pregnancy. The production is soft and subdued, placing an emphasis on the lyrics as Tyler raps from both sides of the relationship, exploring all the worries and nuances the couple share about their future together.
Rather than your average raunchy track, ‘Judge Judy’ uses sex as a device to explore freedom and identity. Tyler tells the story of a sexual relationship with a woman named Judy. He recites his lyrics in a carefree, melodic tone, adding to the languid soundscape of the track. The song ends on an emotional high, wherein Tyler reveals that Judy died from cancer, written in a letter he receives after it’s too late.
Whereas ‘Judge Judy’ was a soft, vulnerable tune, ‘Sticky’ is as bold and bombastic as can be. Joined by a host of guests, the head-bopping banger is an unforgettable posse cut where each MC demands respect.
Once again, things take a sonic turn on ‘Take Your Mask Off’, arguably the best song on Chromakopia. One by one, Tyler tells the story of a different person hiding their true identity, imploring them to embrace themselves. The track reaches its apex as Tyler reflects on his own mask, struggling to accept who he is as anxious thoughts cloud his psyche. Daniel Caesar makes another appearance for the gorgeous chorus, adding to the lush soundscape of summery synths and funky drum-work.
The Emotional Climax
After the guitar-driven balladry of ‘Tomorrow’, the album enters its final leg. Like ‘Rah Tah Tah’ near the beginning of Chromakopia, ‘Thought I Was Dead’ is a hard-hitting clamor of braggadocio. Over an ever-evolving din of industrial percussion, cartoonish horns, and blaring synths, Tyler asserts himself as one of the best rappers in the game, disregarding all criticism with witty rhymes and a ferocious flow.
What follows is an emotional run that encapsulates every theme and idea discussed across the album. ‘Like Him’ is the album’s climax. Singing over a gentle piano progression, Tyler delves into his feelings about his absent father and the void he left. The song erupts into a spiraling din of synths and harmonized vocals as Tyler ultimately accepts his life and himself, stepping out of the shadow of his absent father.
Finally, the two-track run of ‘Balloon’ and ‘I Hope You Find Your Way Home’ closes out Chromakopia. The former song is a synth-driven moment of clarity for Tyler, reflecting on his success while a patchwork of synths and chopped vocals loop under his voice. Florida rapper Doechii makes a surprise appearance, delivering a high-energy feature up there with the finest verses on the album. The latter song marks the triumphant conclusion, wherein Tyler accepts himself and his unwavering commitment to fight through every struggle.
The album ends with a faint chant of “Chromakopia,” hearkening back to ‘St. Chroma’. In one lens, this could merely be to bring the album full circle, enticing the listener to play it all over again. Alternately, the parallel could represent Tyler’s perseverance, willing to go through all the same struggles again if it means he can take his mask off and find his way home.
