Key Takeaways:

• Tyler, The Creator’s “Darling, I” music video showcases his signature mix of surrealism and creativity.
• The clip consists of standout cameos from Nia Long, Willow Smith, Ayo Edebiri, and Teezo Touchdown.
• The launch is taken from CHROMAKOPIA, which has since been adopted up by DON’T TAP THE GLASS.

On Tuesday (Aug. 19), Tyler, the Creator launched a music video for “Darling, I,” one of many standout tracks from CHROMAKOPIA. The self-directed providing confirmed the Odd Future alum in a wide range of whimsical settings and places (a literal beating coronary heart randomly pops up for the squeamish). Viewers have been additionally handled to a slew of high-profile cameos from the likes of Nia Long, Willow Smith, Lauren London, Lionel Boyce, Ayo Edebiri and Teezo Touchdown, the track’s visitor function.

“Darling, I” follows a sequence of clips rolled out for cuts like “Thought I Was Dead,” “St. Chroma” and “Noid,” the final of which additionally boasted an Edebiri look. The new launch stored these parts intact, together with the masks and uniform that dominated a lot of Tyler’s CHROMAKOPIA promotional marketing campaign.

The timing of the visible is notable, as Tyler is at present balancing materials from two totally different initiatives. Back in July, he surprise-released DON’T TAP THE GLASS, which has been supported by latest visuals for “STOP PLAYING WITH ME and “music-video”>SUGAR ON MY TONGUE.” Despite the newer physique of labor being introduced solely days earlier than it turned obtainable, followers pushed it to the highest of the Billboard 200, making it Tyler’s fourth consecutive No. 1 album on the chart. Even with the brand new tunes, his ongoing tour — which sees Lil Yachty and Paris Texas as supporting acts — stays centered on the 2024 LP.

In a latest interview with Apple music’s Zane Lowe, Tyler mentioned the shift between the 2 initiatives. He described CHROMAKOPIA as a report that explored private themes, together with his relationship along with his household and experiences of near-fatherhood, whereas DON’T TAP THE GLASS was conceived as a lighter and extra playful follow-up. “After the weight of that got off, I just wanted to be silly again,” he defined. “I just want to be fun and say outrageous s**t and just talk big fly s**t. That was the main 100 percent goal.”