Review of ‘Chromakopia’: Tyler, the Creator Achieves Major Hip-Hop Album Debut for 2024

Merely four days post its debut on October 28, 2024, Tyler, the Creator’s seventh album, titled Chromakopia, has received overwhelming critical praise and impressive streaming figures.

Forecasts within the industry indicate that Chromakopia is set to launch at No.1 on the Billboard album charts this week, with more than 200,000 album-equivalent units sold.

On its first day, Tyler’s Chromakopia reportedly amassed over 85 million streams, eclipsing other notable projects like We Don’t Trust You, The Death of Slim Shady, and Vultures, marking it as one of the most significant hip-hop album launches of the year.

Although its tracking week was shorter than usual, the triumph of Chromakopia propels it into the top 20 of the largest hip-hop album debuts in history.

A Comprehensive Track-by-Track Analysis of Tyler, the Creator’s Chromakopia

The arrival of Chromakopia trails three years after Tyler’s Grammy-winning Call Me If You Get Lost, following up on last year’s CMIYGL (Deluxe).

In this album, Tyler’s eclectic and at times nostalgic production seems to honor all past iterations of himself, featuring soft synth melodies and fleeting vocal elements reminiscent of 2017’s Flower Boy.

Spanning a total length of 53 minutes, the album includes 14 original tracks, some boasting collaborations with artists like Lil Wayne, Sexyy Red, GloRilla, Childish Gambino, Daniel Caesar, among others.

In Chromakopia, Tyler, the Creator leads the audience on a self-analytical journey touching upon themes of persistent anxiety, the burdens of fame, a yearning for wealth, experiences of fatherhood, and much more. Here are some of the key themes explored:

• Anxiety
• Paranoia
• Mental Health
• Privacy
• Fame
• Success
• Wealth
• Materialism
• Desire
• Love
• Relationships
• Fatherhood
• Abortion
• Death

St. Chroma (feat. Daniel Caesar)

The first track, “St. Chroma,”introduces Tyler’s new persona “Saint Chroma,”a mask-wearing figure encapsulating his darker, more erratic side.

Premiering with a music video on October 16, “St. Chroma”delves into motifs of success, ambition, and resilience, underpinned by uplifting vocals from Daniel Caesar.

“P said I could do it too, and boy, did I believe him / I built a path to freedom ’cause them words that he said / Give a f–k about traditions, stop impressin’ the dead, ah / I’m gon’ make it out, promise I’m gon’ make it out / Mama, I’m gon’ make it out, p—y, I’m gon’ make it out”- Tyler, the Creator on ‘St. Chroma’.

Rah Tah Tah

Immediately transitioning from the soulful notes of “St. Chroma,”track two, “Rah Tah Tah,”introduces a menacing beat.

Tyler’s renowned aggressive flow shines through, opting for boastful lyrics that encapsulate Saint Chroma’s tumultuous psyche, featuring playful nods to Zendaya and Kendrick Lamar in lines such as:

“Brodie set a job, if you performin’, he the camera man / They ho-s went to Leuzinger, I skated to Hamilton / I had that S domes gettin’ pressed and almost packed out / Me and Lionel Boyce in drama class, my boy can act now (Mm) / Was really Odd Future, all them other n—-s whacked out / The biggest out the city after Kenny, that’s a fact now”

NOID (feat. Willow x Paul Ngozi)

Tyler closes out “Rah Tah Tah”by reiterating his ongoing fears before plunging into his second lead single, “NOID,”which dropped alongside a music video on October 21, 2024.

This track stands out through its fusion of rock and hip-hop, incorporating a soulful sample from Zambian rock act Ngozi Family, featured on Paul Ngozi’s 1977 record “Nizakupanga Ngozi.”WILLOW lends her vocals to the intro, hook, and post-hook.

The music video and lyrical content reflect Saint Chroma’s escalating paranoia, presenting visions of being hunted and robbed. Memorable bars from “NOID”include:

“No cameras out, please, I wanna eat in peace (Paranoid) / Don’t wanna take pictures with you n—-s or b—hes / Nervous system is shook, way before nineteen (Paranoid, yeah) / LA’ll do that to you, where you from, n—a? Who ya? / Satellites (Satellite), screenshots (Noid) / Paparazzi (Noid), NDAs (Noid) / Privacy? Huh, yeah, right, I got a better shot in the NBA”

Darling, I (feat. Teezo Touchdown)

On the fourth track, “Darling, I,”Tyler surprises listeners with a collaboration featuring Teezo Touchdown, who offers an optimistic vibe supported by vibrant synths and rhythmic drum patterns.

The track begins with a spoken introduction from Tyler’s mother, Bonita Smith, emphasizing the need for authenticity in relationships.

The introspective verses reveal insights into love, commitment, desire, and personal growth. Notable quotes from “Darling, I”encompass:

“See, monogamy, that s–t is not for me (Nah) / One option for everybody, don’t you lie to me (Don’t you lie) / Too many grooves, I’m too curious to try to be / Hidin’ things, feelin’ shame built inside of me / Cause honestly (Psh), T is not perfect / So how can I get everything from one person? / I’m at the altar, but I’m still searchin’”

Hey Jane

In “Hey Jane,”Tyler offers a more straightforward narrative with a somber tone, contrasting with the majority of tracks on Chromakopia. The title pays homage to a New York-based healthcare service providing abortion options.

Through “Hey Jane,”Tyler articulates his internal struggles surrounding parenthood in the wake of an unexpected pregnancy. The lyrics unfold like a heartfelt letter, reflecting both his and his partner’s perspectives on raising a child, showcased in lines like:

“Ain’t in the space to raise no goddamn child / Hey, Jane, I’m terrified, petrified / I don’t wanna give my freedom up, or sanitize it / This my fault, the results are justified / I f–ked up, I’m stressed out, I’m dead inside / But, hey, Jane, who am I to come b—h and complain? / You gotta deal with all the mental and the physical change”

I Killed You (Feat. Childish Gambino)

In “I Killed You,”Tyler’s production prowess shines brightly, presenting a powerful opener characterized by compelling drum designs that decelerate into a more acoustic-style backdrop towards the conclusion, complemented by gentle vocal displays.

The song revolves around Tyler’s intricate connection with his hair, showcasing lines that praise African-American hairstyles and textures, celebrating his cultural roots. Childish Gambino makes a brief appearance as the track transitions into “Judge Judy.”

“How we used to pick you ’cause you was a symbol / Berries and oils, your nature was so simple / But I guess the coils and kinks became an issue / Therefore, b—h, I killed you, Jheris and Mimis (Mimis) / I burnt you, I cut you, I filled you up with chemis (Chemis) / Forced you to relax, you was thick, you was BB”

Judge Judy (feat. Childish Gambino)

“Judge Judy”reintroduces the love theme, enhanced by Childish Gambino’s airy ad-libs, fostering warmth within a narrative that tackles love, intimacy, and mortality.

Tyler’s verses engage with the story of his relationship with Judy, recalling cherished times spent together. The track concludes with Tyler reading a letter from her, revealing her battle with cancer.

“Sorry that I haven’t been communicating much (Uh, ooh, ooh, ooh) / This past year has been rough, it spreaded to my head (Yeah, yeah, yeah) / I knew it when we met, if you’re reading, it’s too late / I’m on the other side, but I just wanna say / Thank you for the moments I could grab before I left (Wait)”- Tyler, the Creator on ‘Judge Judy’.

Sticky (feat. GloRilla x Sexyy Red x Lil Wayne)

“Sticky”emerges as one of the album’s most energetic tracks, showcasing an unpredictable soundscape brimming with robust drums, vibrant horns, and heavy bass.

Tyler collaborates with GloRilla, Sexyy Red, and Lil Wayne, each offering brief verses that add to the song’s overall impact. The lively production, driven by self-assured lyrics revolving around themes of sex, wealth, success, and power, contributes to the song’s engaging quality.

“See, I’m a Westside n—a from the zone (What’s goin’ on, n—a?) / Knock, knock, knock, knock, knockin’ at the door (I’m knockin’ at the door) / I keep them mink-minks on hip ’cause I keloid my fists (Mm) / N—a, give a f–k ’bout pronouns, I’m that n—a and that b—h”- Tyler, the Creator on ‘Sticky’.

Take Your Mask Off (feat. Daniel Caesar x LaToiya Williams)

The ninth track, “Take Your Mask Off,”resonates with the essence of Flower Boy, centering around a captivating piano-driven arrangement.

Featuring Daniel Caesar and LaToiya Williams, their unique backing vocals draw listeners in, while Tyler delivers four impactful verses addressing the hidden nature of individuals, whether they be clergymen or criminals, who disguise their true selves.

Pivotal lines from this song illustrate Tyler reflecting on his own actions and the choices he’s made, as noted in:

“You ain’t gotta hide from the truth / Tell your family why you such a recluse / Tell your spirit why you feelin’ it’s a wrap in the booth / Dog, how dare you try to ruin her marriage? (Come on) / Claim you never wore a mask and how you don’t get embarrassed / Boy, you selfish as f–k, that’s really why you scared of bein’ a parent”

Tomorrow

“Tomorrow”departs from Tyler’s typical structure, marking the first instance in his discography where the tenth track is not a two-part piece, offering one of the most sincere songs on Chromakopia.

The lyrics signal a moment of reflection for Tyler, juxtaposing his lifestyle’s superficiality against peers settling into family life, projecting a sense of contentment he feels he’s missing.

“Tell that new version of me that I’m comin’, yeah / My brodie had another baby, that’s like number two (Number two) / My homegirl, her knot tied, she like thirty-two (Thirty-two) / They sharin’ pictures of these moments, s–t is really cute / And all I got is photos of my ‘Rari and some silly suits (Man)”

Thought I Was Dead (feat. ScHoolboy Q and Santigold)

As the eleventh track on Chromakopia, “Thought I Was Dead”includes the full version of the third single, enhanced by guest features from ScHoolboy Q and Santigold.

Q’s distinctive flow introduces a cold edge to Tyler’s powerful production, creating an unforgettable listening experience. In his verse, Tyler critiques “culture vultures,”taking jabs at rappers he blames for tarnishing hip-hop, as he illustrates:

“White boys mockin’ this s–t and y’all mad at me? Y’all can suck my d–k / Pull up old tweets, pull up old t-shirts, all that, I’ll moonwalk over that b—h (Hee-hee) / See, T changed like the ‘fit got dirty / I was young man, then a n—a hit thirty / I was one mil’, then a n—a hit thirty / B—h, you ain’t Coco Gauff, you can’t serve me”

Like Him (feat. Lola Young)

“Like Him”may lack the complexity of other tracks, yet it serves as a reflection on trauma revolving around his father’s absence.

The emotional instrumentals echo Tyler’s signature style, incorporating spoken-word moments from his mother Bonita Smith.

The track closes with Bonita expressing remorse for denying Tyler a relationship with his father, stating:

“It was my fault, not yours, not his, it was my fault, I’m sorry / You know, it was my fault / Not him, ’cause he always wanted to be there for you / And I’m sorry I was young / But he’s always wanted to be a father to you / So I, I f–ked up and I take ownership of that / Of my choices and decisions / And I’m sorry for that”

Balloon (feat. Doechii)

Sampling Uncle Luke’s 1992 hit “I Wanna Rock,”Tyler partners with Doechii for “Balloon,”a track that embodies a confident swagger.

The duo reflects on their trajectories, prosperity, and accomplishments, underpinned by an energetic production that intensifies throughout. Doechii’s powerful performance shines in “Balloon,”highlighted by her lines:

“Oui oui, merci / Keep it cute when you’re in my city / I’m 5’2″, A-cup ti–ies / I don’t need you, ’cause I already f–k me / I don’t need a Range when I got an airboat / I don’t need a plane, ’cause the airboat float (Don’t stop—) / Out in New York, walk around bare-toed / I don’t need a passport, I’m a swamp bitch, oh-oh”

I Hope You Find Your Way Home

In the final track, “I Hope You Find Your Way Home,”Tyler caps off his seventh studio project with vibrant production characterized by electric synths and uplifting melodies.

The lyrical exploration revisits themes previously addressed in Chromakopia, leaving a resonant impact on listeners with lines like:

“B—h sue for a mil’ tryna work me, settled at a mil’ ’cause that mil’, it couldn’t hurt me (Eugh) / It didn’t hurt me (Eugh) / Nah, it ain’t hurt s–t (Eugh) / Sip the motherf–kin’ water, did a backflip (Mm) / And if I shoot the club up, it’s a Black b—h (Don’t say that) / On the plane by myself, I ain’t pack shit (Eugh) / Yeah, eating candied yams and some catfish”

Tyler, the Creator’s latest work is a skillfully crafted project that allows him to delve into his most profound emotions, drawing from significant and traumatic experiences that have shaped his tumultuous persona, ultimately evolving into his Saint Chroma alter-ego.

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