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Butfew guests at the Pop Out saw a noisier crowd response than Tyler, the Creator.
The end result is a kind of inverseMr.
Morale & the Big Steppers, a psychological deep dive intonotwanting to be a family man.
Tyler was singing a different tune on the last album.
The new album sees the artist occupying a more worried, insular mind-set: Its dangerous outside for rappers.
Chromakopiais at war with itself, jostling through light, uplifting moments and self-defeating lows.
But the new album dips into a purposeful conversation about Black masculinity dating back centuries.
Its monochrome military visual aesthetic peep the martial, cartoonish gait in theSt.
Hes surveying the pitfalls of chest-beating.
Its on the ruins of my entourage that I build my virility.)
But he still itches to be the dominator and free spirit his peers embody in their records.
The value of fighting against a more traditional path plagues Tyler as he stares down the barrel of maturity.
Its a revelation as jarringly personal as the matter-of-fact bisexuality ofFlower Boy.
So boy, dont you turn back.
Chromakopias amorphousness feels instructive.
St. Chroma lifts a name from Norton Justers 1961 childrens novelThe Phantom Tollbooth.
Chroma the Great is a bastion of reason and maestro of pigment in a tale of strange philosophical absolutists.
He commands the realms colors like musical instruments, coaxing out a sunset as a conductor leads an orchestra.
