“Tyler, the creator of 'Chromakopia': Ranking the titles”

Given the unpredictable mix of genres of Chromacopy“Like Him” is one of the other standouts and feels slightly formulaic. Tyler's light cooing and production sound great, but the consistency of “Like Him” ​​just doesn't captivate as much as the album's more confusing entries.

Thematically, “Hey Jane” feels relatively superficial compared to the complex topics covered elsewhere Chromacopy. While the track itself is relaxed and flows with ease, the four-minute running time drags out a bit, bringing the energy just below cruising altitude before catapulting it back into the stratosphere with “I Killed You.”

Tyler's “Judge Judy,” another love story with support from Childish Gambino, feels like a breath of fresh air after the powerful “I Killed You” thanks to his exuberant vocals. Although “Judge Judy” isn’t a necessary detour ChromacopyThe barrage is a welcome breather.

Chromacopia The lush and magnetic clasp allows Tyler to rattle off a few more outstanding bars before completing his latest work. While he doesn't break any new ground lyrically here, “I Hope You Make Your Way Home” takes another turn, leaving Tyler, the Creator fans with another batch of colorful soundscapes before calling it a day.

Tyler’s intro fits perfectly into his latest era with “St. Chroma.” In a hushed voice, Tyler welcomes fans to his new world and spits surprisingly hopeful bars alongside some soulful vocals from Daniel Caesar. The song then takes a turn and dissolves into insane bass madness that suits Tyler, the Creator incredibly well.

ChromacopyThe tenth track introduces the final act of the album with absolute frenzy and in turn serves as the perfect backdrop for the rugged flow of Schoolboy Q. During Chromacopy Layered with deeper metaphors and meanings throughout, “Thought I Was Dead” feels like a song made solely as a “fk you” for the haters. “White boys make fun of this shit and are you all mad at me?/Y’all can suck my ass out,” Tyler shouts.

As ChromacopyIn the second track, Tyler grinds forward, Tyler using the trunk-clattering backdrop to attack anyone who gets in his way (and briefly calls out Zendaya). The swaggering nature of “Rah Tah Tah” feels like both an evolution and an homage to Tyler’s predecessor, with the suffocating beat reminiscent of his wolf days.

Flower boy Fans will certainly be pleased with the sound of “Take Your Mask Off,” as Tyler replaces the rollicking production of “Take Your Mask Off.” Chormacopy for a song full of sunshine. Tyler takes a moment to speak to the oppressed and praises anyone who feels the need to hide behind masks and suppress their individuality. This in turn fits in perfectly Chromacopyis the presumed theme of self-discovery amidst fame. Driven by piano and 80s synthesizers, the song blows away like a summer breeze.

Tyler, the creator's lead single, is still one of the best tracks ever Chromacopyhonestly, because the rock-rap background is so confusing. While the rapper compiles a distorted selection of the Ngozi family 45,000 volts In his album he comments on the cultic nature of fame and the resulting paranoia that threatens to ruin his life. “I triple checked to make sure I locked the door. I know every creak in the ground,” he spits.

On “I Killed You,” Tyler is in full force as he ducks and moves alongside the beat’s jerky tug-of-war. The beat keeps throwing unexpected twists and turns with a barrage of horns and bongo drums that threatens to implode but never actually explodes. Meanwhile, Tyler keeps his cool and taps breathlessly as his world threatens to collapse around him. “Gravity-defying, that’s that element,” Tyler spits, almost realizing how cool he remains under the confusing pressure of “I Killed You.” The song then opens up in its closing moments, like the sun after a storm, letting Childish Gambino float in and do his thing.

Tyler's “Tomorrow” is one of the album's rawest tracks and showcases the California MC's powerful lyricism. After Chromacopy “Tomorrow” throws a lot of brash moves at the listener, seemingly slowing things down and allowing Tyler to reckon with the vanity of his lifestyle. He sees his friends and family having children and realizes that all of his purchases feel so insignificant in comparison.

“Yeah, my Brodie had another baby, that's like number two/ My girlfriend and I tried, she likes thirty-two/ They share pictures of that moment, that's really sweet/ And all I have are photos from my rari and some silly suits,” he raps. For the 33-year-old, “Tomorrow” feels like a very powerful diary entry in the life of Tyler Okonma.

“Balloon,” a short but charming song, combines some iconic samples (including Luke's “I Wanna Rock)” with glitchy synths that sound like something out of a Mario game. While Tyler is fine, special guest Doechii remains the highlight of the song as she conquers the confusing beat. Her verses are so funny and manic that they will surely convince people of her undeniable talent.

“Sticky” is chaotic and unpredictable, and Tyler delivers some of that Chromacopia the wildest movements. “Na, give af-k ‘cause of pronouns, I’m the na and the bra,” he raps.

When GloRilla and Sexyy Red step in, “Sticky’s” relentless barrage of whistles, chants and bass almost has the rappers tripping and stumbling in the best way possible. Sexyy Red barely manages to throw off more than a few arrows before the beat engulfs her, and even Lil Wayne doesn't manage to say a few words before a blast of a horn drowns him out. “Sticky” is a song that pushes its guests far out of their comfort zone and invites everyone to enter Chromacopy's world – even if it means certain death.

“Darling, I” is one of the few moments of optimistic relief on the album, and feels wonderfully playful in the midst of so much ChromacopyThere is a threat of darkness. While much of the album explores the exploitative nature of celebrity culture, Tyler's ruminations on his sexuality seem meditative and joyful compared to the harsh darkness of the project.