It has been just over two weeks since Tyler, the Creator dropped his ninth studio album DON’T TAP THE GLASS, and the surprise album is running the charts. This marks his fourth consecutive No. 1 release on the Billboard 200 albums chart.
The record was released just nine months after the Los Angeles artist’s last project, CHROMAKOPIA—a critical and commercial success blending some of Tyler’s most personal, introspective tracks with loud party anthems.
On the morning of, Tyler posted a note to social media voicing his disdain for contemporary club culture, where attendees hesitate to dance for fear of being filmed. He continues, “This album was not made for sitting still. Dancing, driving, running; any type of movement is recommended to maybe understand the spirit of it. Only at full volume.”
If you missed the rollout, he opens the album with similar messaging in “Big Poe.” Tyler makes it clear from the start that passivity isn’t an option and insists there will be “none of that deep shit” on the record before throwing us into the deep end. The maximalist, synth funk hip–hop album gives listeners no time to breathe—delivering ten short tracks in just 28 minutes.
The album starts strong with an impressive intro, “Big Poe,” highlighted by a braggadocious Tyler describing his sexual escapades and gold jewelry over loud, looping drums. Pharrell Williams, performing under the moniker Sk8brd, gives a fantastic, well–fitting verse as well. The influence of Williams’ early production and The Neptunes’ work is all over the album, so it’s only fitting he kicks it off.
The record then transitions to two pop–R&B tracks, “Sugar On My Tongue” and “Sucka Free.” Both songs see Tyler balance lush, melodic choruses with rap verses spliced in between. “Sugar On My Tongue” is the stronger of the two, with a mind–numbingly catchy chorus targeted at a love interest Tyler is infatuated with. On “Sucka Free,” Tyler continues to show off his vocal chops, letting the song spill into an extremely fun outro, fit with a talkbox–like distortion.
Next comes “Mommanem,” a one–minute interlude that feeds directly into “Stop Playing With Me.” To me, “Mommanem” is the weakest track (if you can really call it that) on the project. From the grating “somebody gon’ get clipped today” teasing to a transitional build–up that, honestly, falls flat. You can skip it and not miss much. It’s a shame, too, as the rising beat sets up what could be a great transition into “Stop Playing with Me,” but the beat tapers off instead of going right into the next track. The latter, though, is a strong rap entry, in which Tyler directly addresses the critics he seemingly keeps defying. The track would fit right into 2021’s CALL ME IF YOU GET LOST string of in–your–face Tyler verses over loud 808s and a shuffling synth. I just wish “Mommanem” introduced it a bit better. Luckily, it is smooth sailing the rest of the way.
A week before the album was released, I was complaining to a friend that there was no “song of the summer” this year. Well, “Ring Ring Ring” gave me that and more—what a fantastic, warm disco bop. The use of strings and a masterful sample of Michael Jackson’s “Off The Wall” provide an excellent bassline for Tyler’s love–struck pleads. Surprisingly, the “ringing” sound effect spliced throughout does not distract the listener at all—take note, Drake. The standout partition of the track is the bridge between the third verse and the outro. The echoing talkbox vocals and Tyler’s repeated “I love you, I love you” close out the summer ode on a strong note.
Tyler keeps the good times rolling with “Don’t Tap That Glass / Tweakin’.” The two–part song is a head–nodding, lip–pursing hit. Tyler has a blast on this track, evident by his exaggerated delivery and heavy beat–mimicking breaths throughout. His energy is contagious, making it a genuinely tough song to sit still through. The beat switch two–thirds of the way through somehow breathes even more life into the track, as Tyler delivers bar after bar on a speeding beat before a brass–heavy outro closes it out. This is definitely one to come back to.
The next two tracks feature impressive vocals by Madison McFerrin and Yebba, respectively. McFerrin stars in “Don’t You Worry Baby,” a sexy, pop entry. McFerrin’s chorus expands on Tyler’s enamoration, singing, “Don’t you worry, baby. I’ve got time and I’m gon’ give it to you. I’ll give you the world before you fall asleep. Wake up.” Her soothing delivery is echoed by Tyler throughout. On “I’ll Take Care of You”, Tyler mixes his pitched–up vocals with Yebba. The song easily makes for the most surprising first listen on the tracklist as it takes a slow, melodic beat and interjects it with a harsh, repeating sample of Crime Mob’s “Knuck If You Buck.” Somehow, it works. It feels like this is only a song Tyler can make.
The album concludes with “Tell Me What It Is”—the emotional high point of the album. In it, Tyler reconciles with his inability to fall in love due to his social status, expanding on themes from CHROMAKOPIA. “Momma, I’m a millionaire. But I’m feelin’ like a bum,” he sings. “I can buy the galaxy. But can’t afford to look for love.” For an album that is 90% feel–good, love–struck hits, it ends on quite a desperate, sad note.
It’s unclear just why Tyler chooses to construct the album in this way. Of course, this won’t stop me from theorizing. With Tyler’s heavy focus on movement and ever-club confidence, the record’s slow decline just might be the truest representation of club culture. The extreme feeling of grandiosity present in opening tracks like “Big Poe” and “Stop Playing With Me” is reminiscent of a high–rolling night out. Meanwhile, the attraction and physical longing present on the back half of the record mimics a single clubgoer’s usual not–so–subtle search for intimacy—a temporary stand–in for loneliness. But when the venue’s bright lights come on and the buzz dies down, what lingers are your true emotional needs and insecurities—laid bare on the final track.
Or maybe—as stated—there is “none of that deep shit” on this album, and I’m reading into it a bit too much.
Either way, DON’T TAP THE GLASS adds another entry to Tyler’s already impressive discography. From his days as an early–internet rapper to his rise as a reinventive hip–hop heavyweight, this project is a much–deserved victory lap. It is Tyler at his best, showing off his technical mastery in a jammed record. Each track boasts impressive production, varied instrumentation, and seamless vocal layering.
Following his guidelines does make for the best listening experience. I urge first–time and repeat listeners to get up and get moving, even if someone might pull out their phone to record.
