Rolling Stone reviewed Tyler's real estate. The album was mentioned briefly.

Jeff Ihaza opens his Chromakopia review by talking about Tyler's artistic evolution, which is the music journalism equivalent of starting every essay with 'Since the dawn of time.' We know Tyler has evolved, Jeff. The man went from rapping about goblins to making jazz-funk albums in a beret. This is not hidden knowledge. It's the first paragraph of his Wikipedia page. You are not breaking news.

The review is structured as a biography with occasional references to the album being reviewed, which is a bold strategy for a piece ostensibly about specific songs on a specific record. Ihaza discusses Tyler's fashion sense. He discusses Tyler's real estate investments. He discusses Tyler's relationship with fame. What he does not discuss, with any specificity, is what Chromakopia sounds like. There is no analysis of production choices, no discussion of the album's sonic palette, no mention of how the beats are constructed or why they work. It's as if someone asked Ihaza to review a building and he spent 1,500 words on the architect's childhood.

Rolling Stone no longer publishes numeric ratings, which is convenient because it means readers can't mathematically verify whether the review's sentiment matches its score. The text is overwhelmingly positive but vague in the way that suggests Ihaza listened to the album twice — once in the background while writing the biographical sections, and once more closely to find a lyric to quote. This is a profile masquerading as a review, and the album deserves better than to be a supporting character in its own critique.