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When held up against the unpredictable genre-mashing of Chromakopia’s other stand-outs, “Like Him” feels slightly formulaic. Tyler’s light coos and the production sounds great, but the steadiness of “Like Him” just doesn’t captivate as much as the album’s more disorienting entries.

Thematically, “Hey Jane” feels relatively surface-level compared to the complex themes explored elsewhere on Chromakopia. While the track itself relaxes and flows with ease, its four-minute runtime drags a bit and brings the energy down just slightly below cruising altitude before skyrocketing it back into the stratosphere with “I Killed You.”

Another love story aided by Childish Gambino, Tyler’s “Judge Judy” feels like a breath of fresh air after the pummeling of “I Killed You,” courtesy of his exuberant vocals. Though “Judge Judy” isn’t a necessary detour from Chromakopia’s barrage, it’s a welcomed breather.

Chromakopia’s lush and magnetic closer allows Tyler to rattle off a few more stellar bars before wrapping up his latest effort. Though lyrically he doesn’t tread any new territory here, “I Hope You Make Your Way Home” once again twists and turns along the way, leaving Tyler, the Creator fans with one more batch of colorful soundscapes before calling it a day.

Tyler’s intro steps into his latest era perfectly with “St. Chroma.” In a hushed tone, Tyler welcomes fans to his new world, spitting surprisingly hopeful bars alongside some soulful vocals courtesy of Daniel Caesar. The song then flips and disintegrates into bass-thumping madness, which is incredibly on-brand for Tyler, the Creator.

Chromakopia’s tenth track ushers in the album’s last act with absolute pandemonium, and in turn, serves as the perfect setting for Schoolboy Q’s gruff flow. While Chromakopia is layered with deeper metaphors and meanings throughout, “Thought I Was Dead” feels like a song solely made as a “f–k you” to the haters. “White boys mockin’ this s–t and y’all mad at me?/ Y’all can suck my d–k,” Tyler calls out.

As Chromakopia’s second track grinds along, Tyler uses the trunk-rattling backdrop to flex on anyone who stands in his way, (and gives a quick shout-out to Zendaya). The braggadocious nature of “Rah Tah Tah” feels both like an evolution and an homage to Tyler’s day ones, with the suffocating beat harkening back to his Wolf days.

Flower Boy fans will surely rejoice with the sound of “Take Your Mask Off,” as Tyler’s substitutes the boisterous production of Chormakopia for a song filled with sunshine. Tyler takes a moment to speak to the downtrodden and calls out hopeful praise to anyone who feels the need to hide behind masks and suppress their individuality. This in turn fits snuggly within Chromakopia’s presumed theme of self-discovery amidst fame. Driven by piano and ‘80s synths, the song meanders along like a summer breeze.

Tyler, the Creator’s lead single still serves as one of the best tracks on Chromakopia, frankly because of how disorienting its rock-rap backdrop is. As the rapper tussles together a distorted sampling of the Ngozi family’s 45,000 Volts album he commentates on the cultish nature of fame, and the subsequent paranoia that threatens to ruin his life. “Triple checking if I locked the door/ I know every creak that’s in the floor,” he spits.

On “I Killed You,” Tyler is right in his bag as he ducks and weaves alongside the beat’s jerking tug-of-war. The beat flips unexpectedly throughout with its barrage of horns and bongo drums threatening to implode, but never actually detonating. All the while, Tyler keeps his cool, rapping breathlessly as his world threatens to cave around him. “Gravity defying, this that element,” Tyler spits, almost acknowledging how cool he remains under “I Killed You’s” disorienting pressure. The song then opens up in its closing moments, like the sun after a storm, allowing Childish Gambino to float in and do his thing.

Tyler’s “Tomorrow” is one of the album’s rawest tracks, and showcases potent lyricism from the California MC. After Chromakopia hurls a ton of brash flexes at the listener, “Tomorrow” seems to slow things down and allows Tyler to reckon with the vanity of his lifestyle. He sees his friends and family starting to have children and notes that all of his purchases feel so insignificant in comparison.

“Yeah my brodie had another baby, that’s like number two/ My homegirl and I tried, she like thirty-two/ They sharin’ pictures of this moment, s–t is really cute/ And all I got is photos of my ‘Rari and some silly suits,” he raps. At 33 years old, “Tomorrow” feels like a very powerful journal entry in the life of Tyler Okonma.

A brief but enchanting song, “Balloon” pairs some iconic samples (including Luke’s “I Wanna Rock)” alongside glitchy synths that sound like something out of a Mario game. While Tyler thrives, special guest Doechii remains the song’s highlight, as she conquers the bewildering beat. Her verse is so fun and manic that it’ll surely convince people of her undeniable talent.

“Sticky” is chaotic and unpredictable, with Tyler offering some of Chromakopia’s most rambunctious flexes. “N—a, give a f–k” ‘bout pronouns, I’m that n—a and that b—h,” he raps.

By the time GloRilla and Sexyy Red chime in, “Sticky’s” relentless volley of whistles, chants, and bass causes the rappers to nearly trip and stumble in the best way possible. Sexyy Red is barely able to rattle off more than a few darts before the beat devours her, and even Lil Wayne can’t get a few words in before a blast of horns drowns him out. “Sticky” is a song that pushes its guests far outside their comfort zone, and requires everyone to step into Chromakopia’s world — even if it means a certain death.

As one of the only moments of optimistic reprieve on the album, “Darling, I” feels delightfully playful amidst so much of Chromakopia’s looming darkness. As much of the album explores the exploitative nature of celebrity culture, Tyler’s ruminating on his sexuality feels meditative and bright compared to the harsh glum of the project.