“69 rappers have gone No. 1 on the Billboard 200. No-one has done this before,” explains a tweet from Hip Hop by the Numbers.

Tyler, the Creator—the “no one” mentioned in the statement—has changed the rapping industry with his latest album IGOR. In fact, he carefully crafted history through an eccentric album released on May 17th.

Coming off of the prodigious success of his album Flower Boy, an album that changed his style from abrasive to critically acclaimed, pushing him into the treacherous threshold of popularity, Tyler, the Creator has used the past two years to deliberately construct yet another game-changing album.

Producing and arranging IGOR by himself without the helping hands of anyone else, he accomplished his goal while simultaneously setting lofty standards in the music industry.

This album, promoted everywhere across his social media, has twelve songs, starting with “IGOR’S THEME,” track one.

Powerful drum beats combined with hushed lyrics sang by Lil Uzi Vert—ones that feel as if they are background noise to the experimental instruments taking the stage—alternatively reveal that IGOR will take a divergent path from albums before. The cacophony of beats and noises creates a hug of sound for your ears, submerging you into the album within the first minute, which is an accomplishment that is no easy feat.

This electric song comes to an end after a little over three minutes, followed by “EARFQUAKE,” the second track.

“EARFQUAKE” starts out in complete contrast to the first track, but Tyler, the Creator’s impeccable mixing and lyrics make the transition nothing short of masterful. The sedated beat combined with varying volumes of the vocals provide the feeling of experimentation like Tyler, the Creator has arranged this album in the seclusion of his own home.

It’s exactly this old school, messy feeling to the songs that delivers it as one of the most idiosyncratic albums in today’s industry; with all the experimentation, it appears that Tyler, the Creator is exploring his skills and music like a melodious chemist. There’s prepossessing chaos to his talent, to his words, to his songs, and I am soulfully sheathed in it with no regrets.

When track four, “RUNNING OUT OF TIME,” came on, I couldn’t regret listening to it either. Softer lyrics and an airy yet captivating beat entranced me. Every second of the song made me feel as if I was in a half-asleep state of delirium, a common theme from this album.

It was too dreamy—too mesmerizing.

Not a single song on this album disappointed me as each one dived deeper into clouds of dreams; they all fed into each other, creating a storyline my ears could not depart from. Ariose lyrics rapped or sang over avant-garde instrumentals contained my headspace within this album for the whole thirty-nine minutes.

All the way from the beginning instrumentals of “IGOR’S THEME” to Tyler, the Creator’s screams on “ARE WE STILL FRIENDS?”, the astounding apodictic growth of his talent and range is demonstrated for the world to see.

IGOR is an exploration—an adventure crafted by Tyler himself—and an invitation into his mind, feelings, and music.

And what an exploration it is.