Why Tyler, The Creator's CHROMAKOPIA is Deeper Than You Think
I have been a Tyler fan for a few years now, and when I heard he was releasing a new album on October 28th, I was beyond ecstatic. He is my favorite artist to date, and I always found his messaging incredibly inspiring.
On my initial listen to CHROMAKOPIA, I wasn’t entirely sold, as I felt a lot of the songs were a bit too goofy for a typical Tyler album. Yes, it tackles very humanistic themes, but the sounds itself, at first came off as gimmicky. “Hey Jane” was too slow, “I Killed You” seemed silly, “Judge Judy” was off tune, “Sticky” wasn’t my cup of tea, and originally was my least favorite song off the album, and “Balloon” sounded like a Roblox soundtrack. So, in a way I wasn’t really sure how I felt about the new album after the first listen. But because I adore his music, I decided it wasn’t fair to judge it based on only one listen. Especially at 3am.
I gave CHROMAKOPIA another listen, and then another, and then another, and I realized the more I listened to it, the more each and every song revealed its deeper meaning, which Tyler is known to do in most of his projects. Not only that, but upon learning the woman speaking (Bonita Smith) throughout almost all tracks, is Tyler’s own mother, it became that much more a deeply connected piece of art. Throughout the project, Tyler tackles the fears of being famous, getting older, and learning more things about himself that could both break or improve his personality as a person. Tyler hasn’t been a stranger to controversy, but I believe this album singlehandedly proves how far he has comes from his “edgy teenager age.” And it’s with that, that he delivers his most personal an introspective album to date, and it is absolutely astonishing.
Track 1: “St. Chroma”
The track opens with his mother saying, “You are the light. It’s not on you, it’s in you. Don’t you ever in your mother fucking life dim your light for nobody.” This highlights how she is so obviously his biggest supporter, and wants him to succeed in whatever he chooses to do in his life. This is the song that gives a brief look into the rest of the projects themes and that being, always stay true to yourself. The song goes on with a beautiful harmony from Daniel Cesar, and drums that push it forward into a great explosion of the track. Tyler discusses how he will make it out to be successful, and continues to repeatedly say the album title. Chroma meaning, the purity of color from black and white, and kopia meaning copy. To highlight the aesthetic, and overall meaning behind the album, a line in the song perfectly sums it up. “Blowing shit up at home back in Chromakopia MM HMMM.” Tyler is literally messing things up in his home life, but uses Chromakopia as a destination to calm himself down, and reevaluate himself and his morals. At his listening party in Los Angeles, in the Intuit Dome, (unfortunately I wasn’t able to go) he stated, “This album has turned into a bunch of shit my mom told me as a kid. Now that I’m 33, all of that stuff is like, Oh thats what the fuck she was talking about. Oh, I am not the guy I was at 20. Like oh shit, people are getting older, folks having kids and families and all I got is a new Ferrari, and it does feel kid of weird. I’m gaining weight, I got grey hair on my chest. Life is life-ing. I don’t know, I just kind of wanted to write about stuff that I think about when I’m dolo.” This to me, serves as a great explanation as to what the album will uncover about Tyler Okonma.
Track 2: “Rah Tah Tah”
In the second track titled, “Rah Tah Tah” Tyler’s mother is notably absent, and I think that only helps the theme of the song, as it goes back to the same idea behind his 2021 project Call Me If You Get Lost, where he brags about his riches and confidence in himself as a person. Because of this, he doesn’t need his mother to remind him how much he loves himself. And of course we can’t forget about the incredible transition to the third track, and only single off the album. Tyler raps, “I’m paranoid now cause n****s weird and really bums.” To which the next record begins with…
Track 3: “Noid”
“Paranoid! Paranoid! Paranoid!” Noid is an incredible feat for Tyler in itself, as it tackles the constant fear he lives in when interacting with his crazed fans whom he clearly can’t tell wether or not they are there to say whats up, or kill him. And he conveys this with a larger than life music video with an Alfred Hitchcock aesthetic, that couldn’t work more perfectly with the horror aspect of the paparazzi, and becoming an icon to the rest of the world. (I especially love the touch of Ayo Edebiri waving a phone that turns into a gun). This is masterfully done with a sample from Zambian band, Ngozi Family, which the lyrics loosely translate to, “talking too much breeds gossip.” I believe the addition of this sample wasn’t just because of the lyrics, but also because of the Zambian language it holds. Although I don’t know exactly where in Africa Tyler’s heritage is from, this in some ways is a call to finding yourself. Metaphorically, he is going back to his roots.
Track 4: “Darling, I”
“Darling, I” is a perfect example of what Tyler is capable of musically. He perfectly samples Snoop Dogg’s, “Drop It Like It’s Hot” with its blend of many different instruments and a phenomenal feature from Teezo Touchdown. To me this has a similar vibe to “See You Again” on his 2017 project Flower Boy, which is very great to listen to, as it discusses the love he feels for another person, and how it results in his life stopping because of it. This can be incredibly relatable to other people, including me, and it’s with that, that it makes for a catchy and awesome track!
Track 5: “Hey Jane”
“Hey Jane” covers the story of a pregnancy scare between Tyler and a woman presumably named Jane. Throughout the song, you can hear is voice clearly become more and more overwhelmed as the track goes on. He talks about how he’s disappointed in himself for not pulling out, and stressed about having a kid he is not ready for, let alone with someone whom he’s not even in a committed relationship with. And these feelings are very real, and quite frankly, normal stresses for both men and women when having sex. But where the song truly shines is at it’s halfway mark, where Tyler takes the leap to switch perspectives to the woman he impregnated, rapping with his same deep voice. Although it is difficult to notice upon first listen, it couldn’t be more perfect, as not only an understanding to both sides of situation, but also the clear support he carries for all women in his life. It’s not just a rap song about “how cool it is to have sex with a hot woman,” but its a way for Tyler to express how much he wants women to feel empowered in a world where men are typically seen as the dominate breed. My personal favorite lyrics of the album, “But, hey, Jane, who am I to come bitch and complain? You gotta deal with all the mental and the physical change. All the heaviest emotions, and the physical pain. Just to give the kid the man last name? Fuck that (That's dumb as fuck).” I truly love that he uses this track to sympathize with Jane during this uncertain time, and calls out the outdated tradition of a women giving up their last name in favor of their husband’s.
Track 5: “I Killed You”
In the sixth track of CHROMAKOPIA, “I Killed You,” Tyler literally talks to his hair. He speaks from the perspective of killing the roots of his hair through bleach, dye and different styles he’s come to dawn over the years. In fact, in this very album, his jet black hair is split in half, with the two parts sticking out on both sides. I came to learn from, What’s Culture, that this is actually very similar to a traditional Rwandan Amasunzu hairstyle. Although, I can’t know for sure this was the intention as to wether or not Tyler was going for this comparison, it is definitely something that was noticed by the community.
The line, “Your natural state is threatening. To the point that I point at myself and self-esteem,” speaks to the blatant racism in this country for dawning a hairstyle that is different from the typical American’s. It’s not straight or blonde, so therefore, “It is weird.” I also love the line, “Feel ashamed, so we straightened you out.” As someone who has natural curls, I can sympathize in some ways, how straightening your hair might feel more natural to the people around you, because of how normalized it is to shame others for not having “basic white people hair.”
Track 7: “Judge Judy”
“Judge Judy,” is one of the more heartbreaking songs off the album, as it tells the story of one of Tyler’s lovers, while playing with the title that relates to the judge named Judy. This song is VERY kinky, as he sings about all the fetishizes he has in a sexual manor. He speaks about bondage, cream pies, oral and other sexual acts, which eventually plays into the last half o the song where Tyler reads a letter from Judy saying she has passed away from a terminal illness. Having to let go of a loved one can be horrific, and Tyler expresses that through a playful beat and high pitched synths to make it more of an enjoyable listen.
Track 8: “Sticky”
At the halfway point of Tyler’s 8th studio album, “Sticky” makes for a fun transition from the more deeper parts of the project. With the rambunctious drums, loud horns and marching band esc whistling, this song is all over the place. (In the perfect way). Although this isn’t my favorite track, and comes off to me as just another top charting rap song that most casual listeners will find the highlight, I can see the vision. At one of Tyler’s performances of the album, he stated something along the lines of, “I fell in love with the sound of marching bands, so I wanted to create a song with that aesthetic.” So, this track isn’t exactly my cup of tea, I can appreciate the love Tyler has for it, and the care he continues to put into things he enjoys, no matter what others may say about it.
Track 9: “Take Your Mask Off”
This song might be one of the best in storytelling I have ever heard (and yes this is because I glaze Tyler, The Creator). For starters, the first verse begins telling the story of a a young middle class boy that lives in a home with both parents, who loves acting and singing. Yet, he hides behind the metaphorical mask of pretending to be the thug that he isn’t. He wears face tattoos, and acts hard to prevent being called a, “bitch,” by the people around him. The second verse serves as a lesson to all the gay people around the world hiding their true identity because of their own fear in both themselves and what other people may do to them if they found out. The story follows a preacher who calls gays a “sin,” and is disgusted by the thought of gay sex, but in reality he is gay himself. But what makes this so depressing to me, is the fact that this happens in life more than you would think, because it is easy to hide your true sexuality behind religion, and especially Christianity. So, he goes on to teach his church that gays are the devil. This is masterfully told through the lines, “Since a kid, you knew somethin' was up. Had you thinkin' God would hate you so you covered it up. Gotta hide how you live, what you really enjoy. So got a wife, got a kid, but you be fuckin' them boys.” The third verse talks about a housewife feeling unfulfilled with her life, living with her husband and children in a massive home on the hills. Although, she seems to live the perfect life to those outside of it, it becomes clear that she gave up all of her dreams to provide for her family, even if she “thinks about killing herself.” Yet she hides behind the mask to pretend as if she loves everything about her presumably miserable life. The third verse transitions with Tyler’s mother saying, “Keep that shit one hundred with you, with yourself. You don't have to put on no costume. You don't ever have to lie to kick it.” Verse four, I believe Tyler is talking to himself, in which is he begging to take off his own mask. He berates himself for running too fast into the fame he’s not ready for, all the money he’s wasted on pointless items, the “weird ass clothes” he sells and the constant need to validate his talent as an artist. Overall, the lyricism is absolutely beautiful and the chorus from Daniel Cesar and Latoiya Wiliams, “I hope you find yourself. I hope you find yourself. I hope you take your mask off,” will cause a lot of self reflection from listeners to take off the mask and embrace their true authenticated self.
Track 10: “Tomorrow”
My personal favorite track of the album, “Tomorrow,” is the most different sound I’ve ever heard from Tyler’s usual stuff, and the sad strings of the guitar it carries, is not only breathtaking from a musical standpoint, but also standing in one of his most poignant songs to date. It begins with the heartbreaking lines, “My mother’s hands don’t look the same. These jet black strands are turning grey. I’m gaining weight I’d rather rest. The thought of children it brings me stress. Because time is changing. But don’t you wait on me, I’ll be fine.” This is the point where it becomes more clear then ever that the 33 year old artist is afraid to grow old, and above all, feels pressured to have kids and start a family before it is too late. He raps, “My brodie had another baby, that’s like number two. My homegirl a knot tier, she like thirty-two. They sharin’ pictures of these moment, shit is really cute. And all I got is photos of my ‘Rari and some silly suits,” which is obviously a nod to the many personas he has created throughout his music career. The song goes on with a heavenly piano ballad and voice overs with a high pitched Tyler voice, urging his loved ones not to wait on him to start a family, but instead let him vibe with everything he has now, until he feels ready to settle down. For a while now I’ve been waiting for a slower Tyler, The Creator song, and I feel this is the most beautiful I’ve heard in a while, and I am surprised it is not talked about nearly as much as it should. This is truly a gem of a song, through both it’s messaging and cohesive instrumentals that further push the fears and aspirations he harbors.
Track 11: “Thought I Was Dead”
“Thought I Was Dead” is a very boisterous song, as it starts with a sample from a military regiment yelling, “You don’t wanna go to war with a soldier!” This is where Tyler claims himself as a soldier, and sends a final "fuck you” to the music industry as a whole. They disrespected him for being weird and different, and continued to only regard him as a rapper when he has so much more to offer then just that. I love that he calls out the many people who bring back his past back to light when he clearly isn’t that person anymore, saying, “Pull up old tweets, pull up old t-shirts, all that, I’ll moonwalk over that bitch.” Basically stating that no one really knows him and he will disregard all the people trying to knock him down because of the jealously they feel about his success. “5 in the morning I be hating on shit. 10 in the evening I be hating on shit,” is a line I find hilarious. He goes back to his hating ways on this track, but instead he’s hating on his haters.
Track 12: '“Like Him”
The song begins with a melancholy piano with his mom describing Tyler to look like his father he’s never met. As the most beautiful song both musically and lyrically Tyler has ever created, it comes as no surprise this is by far the most introspective part of the entire album. Tyler never knew his father when growing up with his mother, and over the years he has mentioned it a couple times in his career, to which he described him as a terrible person for abandoning him as a child. To this, we are lead to believe his father walked out on his family, but in “Like Him” we are taken on a trip with Tyler himself, in order to learn with him that it was actually his mother who pushed him away all along. Bonita Smith delivers perhaps the most heartbreaking verse of his entire discography:
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 fucked up and I take ownership of that
Of my choices and decisions and I'm sorry for that
He's a good guy
So don't hold that against him because it was my fault
Just, you know? Forgive me
For as personal as this song is, it is not something someone should disregard as just another Tyler, The Creator song. This is an astonishing work of art that portrays his family dynamics in a light we haven’t seen before. Wether its the hypnotic synths, or his high-pitched delivery, this is the most IGOR he has sounded since 2019, and it couldn’t be more perfect than it is to place it on an album that reflects on his life until now. Not only this, but Lola Young’s voice provides so much emotion to the track it is difficult to not get goosebumps, while also bawling your eyes out to the constant reassurance Tyler gives himself throughout the lyrics of the track. In fact, he keeps asking his mother if he looks like him (his father), but is only left with the thought of being with a father he’s never had. This is an immaculate piece of work through and through, and if you only listen to one song on the album, it should 100% be this one.
Track 13: “Balloon”
On the opposite side of the spectrum, “Balloon” has an incredibly jolly beat, and the transition from “Like Him” to this, couldn’t be more jarring. This song tackles both Tyler’s and Doechii’s sexual identity. It’s a fun track, and Doechii kills it with her feature. “Like bells during December, I sleigh,” is my favorite line because it’s great to see this man be sassy on a song. This is the turning point in the album where he finally reveals his true self, without a mask. Although its goofy, you can tell how comfortable he is singing on his own terms. He embraces his bisexuality and has no shame in continuing to reveal it to the world. Much love to this song :)
Track 14: “I Hope You Find Your Way Home”
Here we are. The final track of the album. “I Hope You Find Your Way Home,” is a gentle sendoff to the listeners to this project. The piano chords are beautiful as always, and Tyler’s line delivery is majestic for this R&B sounding track. He discusses how he’s struggling, and needs to get back home in order to prevent his head from spinning over the many stresses of his life. He’s not ready for kids, he’s not ready for commitment in relationships, and has mixed thoughts on his career. On one hand he’s incredibly proud of his accomplishments and confident in his musical talent, but is deathly afraid of what his fame will do to him in the long run. To me, this track reveals that his previous braggadocios album, Call Me If You Get Lost, was nothing but a mask to cover up the insecurities he has in his talents. Yet at the same time, he doesn’t feel any shame in all the projects before that has led to this point in his life. His mother closes the album with an emotional message to her son,
Real shit, I'm proud of you
I'm proud of you, bro
Like, you just never cease to amaze me, like, you just-
There's no words right now how I feel
Do your thing, just keep, keep shinin'
The chill vibes keep pushing beyond his mother’s words and finally the album closes the same way it began, with Tyler chanting, “Chromakopia.”
CHROMAKOPIA is an incredible piece of art, and it shouldn’t be listened to passively. It’s a story to be told about Tyler’s life and career. Its a story about love, stress, fear, and uncertainty. This is the closest comparison I know of to Kendrick Lamar’s, “Mr. Morale and the Big Steppers.” As it reaches the height of being as poignant as it is, in growing older and accepting your faults. Nothing is ever permeant, and in the end, the world will keep spinning, all of us will still get older day after day, and our lives will have it’s ups and downs, but it is important to note that when fallen on hard times, you can always use it as inspiration to create something just as beautiful as Tyler, The Creator’s, CHROMAKOPIA.
CHROMAKOPIA GALLERY
