Arts & Life Editor | Olivia Turner
For over a decade now, Tyler Gregory Okonma, better known as Tyler, the Creator, has been, well.. creating. “CHROMAKOPIA” is the latest of his creations, and my — is it a monumental one for the world of music. Tyler covers several themes in this series of songs ranging from the curse of fame to self-discovery. He tackles topics of his past not yet sung, making for an enlightening listening experience.
For many fans, this album likely came as a surprise. Since the start of his music career, Tyler has been putting out albums every two years, but “CHROMAKOPIA” was the exception, coming out three years after his previous album, “Call Me If You Get Lost.” While fans might’ve had to wait an extra year this time around, it was undoubtedly worth it.
The context of “CHROMAKOPIA” follows his new alter ego, St. Chroma. With “chroma” meaning color and “kopia” meaning abundance, this album’s name promises much variety, and boy, does it deliver. This contrast in themes can be seen right from the album’s strong start — the first three tracks.
“St. Chroma” is a magnificent start to such a long-awaited album. Opening with inspirational words from his mother, marching and chants of “Chromakopia!” creates the sense that destiny awaits — what that will be we don’t yet know, but it feels hopeful. This uplifting theme carries through the entirety of the song until the stark contrast of magical intertwining melodies featuring Daniel Caesar crash into the warped brashness of “Rah Tah Tah.”
With all its boastfulness and badassery, “Rah Tah Tah” feels like the old Tyler, and I think it’s supposed to. It details his rise to fame, throwing in a reference to Kendrick Lamar on the way. The vibe of this track goes hand-in-hand with party anthem “Sticky,” this track containing the addition of Sexyy Red and Lil Wayne.
The general feel of “Rah Tah Tah” comes across like Tyler is thriving in his riches and couldn’t have a care in the world, but his lyrics say otherwise. As he draws boundaries singing lyrics like “never let them see the color, model, make, your semi-truck,” there’s something building, something he can’t prevent. This leads into “Noid” with a seamless paranoia-themed transition.
“Noid” is a stand-out, detailing the paranoia Tyler experiences due to his fame. For those who hear the melody before the lyrics, this track is a head-nodding hit that almost sounds joyful, with its thumping psych-rock guitar riffs and gospelly backup vocals from a sample by the Ngozi Family’s “Nizakupanga Ngozi.” But for those who find lyrics more memorable, the song becomes a nightmarish chase. With lyrics like “left shoulder, right shoulder, left shoulder, look” and “someone’s keepin’ watch / I can feel it, I can feel it,” Tyler creates a sense of panic without hope for peace.
Ripping the listener in and out of dark and light-hearted sounding songs seems to be a theme in “CHROMAKOPIA,” and here Tyler does just that from “Noid” to “Darling, I.” Singing of his romantic relationships over the years, Tyler realizes if he continues down this same track of loving and leaving, he will one day be alone with nothing but his Grammys to keep him company.
“Hey Jane” gets even heavier, as it delves into a specific instance in which Tyler experiences an unplanned pregnancy within a no-strings-attached relationship. He explains the situation from both his and her perspective, packing in powerful lyricism and storytelling skill to envelope all the emotions that go into making the decision of keeping or terminating a pregnancy. This decision is later contemplated to the tune of classical guitar riffs in “Tomorrow,” as Tyler goes back to that same theme found in “Darling, I” of having no one to grow old with him. By the end of “Hey Jane,” Tyler leaves the listener hanging, but due to the song’s double meaning as the name of an online abortion pill, one can only guess how the story ended.
Instantly recognizable on “I Killed You” was Santigold’s signature voice, though she is not credited in this specific track. Also collaborating towards the end of the track is Childish Gambino, implementing whimsical ad libbing. Similarly, dealing with the theme of Tyler’s inner self and accompanied once again by Daniel Caesar is “Take Your Mask Off,” urging Tyler “I hope you find yourself.” While I appreciate the self-reflection he expresses, for me, these two tracks pale in comparison to the literary masterpiece that was “Hey Jane.”
Whether this next track truly is about an absolute vixen Tyler came across at some point in his life, or if it’s just based on a lesson he learned in his music career put into sex metaphors, “Judge Judy” has certainly seduced me. The moans which become increasingly louder and more numerous as the track continues forces me to believe the song was intended to be about the former. This song brings down the tempo a bit for the first time, a much-appreciated change of pace.
Tyler bashes all expectations in “Thought I was Dead,” featuring Santigold once again — this time with ScHoolboy Q. Brassy and sassy, Tyler shows some of his silly side in this track.
Jerked into the somber song “Like Him,” Tyler reveals the truth behind the relationship with his father. After “chasin’ a ghost” his whole life, Tyler’s mother admits apologetically to him that the reason he doesn’t know his father is no fault of this estranged man — it’s her (Bonita Smith) who was responsible for their distance.
Tyler may be the star of the album, Doechii takes front and center when spitting her audacious verse in “Balloon.” Who better than these two bisexual icons to bravely explore the individuality and authenticity this song discusses?
Closing out the album is fan favorite “I Hope You Find Your Way Home.” This track presents a full-circle moment for listeners, tying together several themes sung about throughout the album and re-introducing the chants of “Chromakopia!” heard at the start of “St. Chroma.”
