The fictitious multiverse of Tyler, the Creator has reached a breaking point — a bizarre cast of characters, the result of Tyler’s introspection, is now clawing at its maker. “CHROMAKOPIA,” the artist’s unexpected seventh studio album, is the backwash of an intense premature midlife crisis. It seems that everyone is vulnerable to the terrors of age, time and uncertainty, as Tyler laments his inability — or reluctance — to put down roots in his personal life.

Throughout his acclaimed career, Tyler has assembled an anthology of parables about experiences and lessons drawn from the intimate recesses of his life. He’s portrayed numerous alter egos in his music, such as Wolf Haley and IGOR.

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However, in his more recent work, “CALL ME IF YOU GET LOST,” his character Tyler Baudelaire — a reference to the “A Series of Unfortunate Events” novels — took a more whimsical and droll direction. Tyler’s newest alter ego, St. Chroma, is no different, a speculated reference to a character from the children’s book “The Phantom Tollbooth.” 

“CHROMAKOPIA” simultaneously feels like a retrospective and a look to the future. From the album’s opening track, “St. Chroma (feat. Daniel Caesar),” an immediate paradoxical mixture of hope and uncertainty flows from the song. Tyler’s mother takes a front-seat role throughout “CHROMAKOPIA,” opening the album saying, likely to Tyler, “You are the light / It’s not on you, it’s in you / Don’t you ever in your motherfucking life dim your light for nobody.”

“St. Chroma” is backed with the angelic voices of Daniel Caesar and a choir. The instrumental feels like an extended hand, reaching heavenward, while the lyrics convey zealous obsession as Tyler whispers “I’m gon’ make it out, promise I’m gon’ make it out / Mama, I’m gon’ make it out.”

Given Tyler’s monumental career success, this desperation is a callback, rather than a current feeling. It appropriately introduces the album, which is dominated by the artist’s current anxieties and fears while still acknowledging his journey.

“Rah Tah Tah” and “Noid” drop Tyler into paranoid psychosis, unable to lead his life without looking over his shoulder. The tracks seamlessly melt into one another and are undeniably two of the most hype songs from the album.

Tyler laments the constant dread that comes with the panopticon of fame, singing, “Loop around the block, eyes glued to the rearview / Rather double back than regret hearin’, ‘Pew, pew’ / Never trust a bitch, if you good, they could trap you.” This additional distrust of women is a foreshadowing of the track “Hey Jane.”

Tyler’s midlife crisis takes the wheel early in the album, leading “Darling, I (feat. Teezo Touchdown),” “Hey Jane” and “Judge Judy.” All of these songs explore his lingering apprehension for the future and his acute aversion to monogamy and settling down as he flip-flops between whether he wants to commit or not. In “Darling, I (feat. Teezo Touchdown),” Tyler sings “I love this girl, though, I hit the gold mine / I’m thinkin’ new crib, I’m thinkin’ two kids / Until I get infatuated with a new bitch.”

“CHROMAKOPIA” deconstructs and reconstructs both Tyler’s public and private identities over and over again. “I Killed You” places his compulsion to conform to the cultural and beauty standards of the West as he raps about these insecurities against rhythmic drums and guitar.

“Like Him (feat. Lola Young)” is by far one of the best and most devastating songs on “CHROMAKOPIA,” revealing that Tyler’s father, a recurring villain and mark of Tyler’s hatred, actually wanted to be in his life, but was denied this privilege by Tyler’s mother.

Tyler’s identity is once again called into question as themes from previous albums of his discography are essentially made obsolete. “Wolf” (2013) was almost entirely dedicated to Tyler reflecting on the rage and hatred he felt toward his father for leaving him and his mother.

Synths and screams build into Tyler’s mother’s confession at the end of the track: “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.”

The album isn’t all doom and gloom, however, as “Sticky (feat. GloRilla, Sexyy Red & Lil Wayne)” and “Balloon (feat. Doechii)” breathe an air of absurdity into the collection. The two tracks are just a fun time, bringing somewhat unexpected features onto such a reflective album. The lyrics are wholly tongue-in-cheek, with Doechii rapping, “Aight, where the swamp is? / Flyest bitch up in the room, I need a cockpit (Need a cockpit) / I need some PETA for this pussy / they want the croc print.”

Despite every track achieving the threshold of quality expected of Tyler, the Creator, a few songs lacked the same spirit the others offered. “Darling, I (feat. Teezo Touchdown)” and “I Hope You Find Your Way Home,” though phenomenal songs, were notably similar to previous music released by Tyler.

Given the originality seen from “CHROMAKOPIA,” these tracks unfortunately paled in comparison to the rest of the album. There was nothing inherently wrong with them; they simply felt transitional and banal.

“I Hope You Find Your Way Home,” though somewhat of a let down in comparison to the rest of the album, is an acceptable thematic end. Tyler’s mother is back on this track as Tyler attempts to make sense of his conflicting feelings and fears.

“CHROMAKOPIA” concludes with confusion and contradiction, and leaves the listener with a sense of uncertainty. With a phenomenal exploration of identity, commitment and life, Tyler, the Creator once again proved he is still one of the greatest in the industry — and not even a premature midlife crisis can stop him.