Adam KennyThe teens were NOT alright! ODFWGKTA
Most people whom were teenagers in the early 2010s don’t need an introduction to Tyler, the Creator. In fact, I don’t think anyone who knows about music in any capacity does nowadays. The days of Tyler being known for his edgy lyrics, edgier tweets, out of the box production style and being a member of ODDFUTURE are behind him but not forgotten by us. People might not think of “Cherry Bomb“, “Wolf “or “Goblin“ when Tyler is brought up in conversations anymore. One of his most beloved and revered album’s, Flower Boy, being the catalyst of it all. Tyler went from the bit crunch insanity and aggression of Cherry Bomb to the love sick, soft spoken and melody centric songs like “9/11 / Mr Lonely”, “Boredom”, and “See You Again” which is one of his best known songs AND beloved (for me as well). It remains one of my favourites to this day.
Tyler was creating a diverse and consistent discography for himself
Tyler quickly then followed up with a critically acclaimed (and Grammy winning) album Igor. A more pop centric record, but not without Tyler’s obvious usual influences like Pharrell Williams. Igor was everywhere when it came out in 2019. There wasn’t a person who didn’t know a song from it. Songs like “NEW MAGIC WAND” which was this loud, head bashing and abrasive track drenched in jealousy. Not to forget “EARFQUAKE” which is a synth pop banger combined with some soul and pop influences that I adore. The production reminds me of something you would hear from a Dr. Dre record if it was 3am and Dre was love sick. Then Tyler released CALL ME IF YOU GET LOST which went completely against the sound of Flower Boy and Igor in typical Tyler fashion. Tyler and DJ Drama created a love letter to some old school hip hop whilst maintaining a current and fresh sound. Again having some notable hits like “WUSYANAME”, one of the more melodic tracks on the album. The record leaned into a mix tape “gangsta grillz” style with loud and raw lyrics and flows.
Tyler, THE Creator
Which brings us to DON’T TAP THE GLASS. A surprise release for many as Tyler had just released CHROMAKOPIA last year. One of Tyler’s more personal records in which he explored his identity not just as an artist but also as a black man. A record where Tyler digs into his ancestral roots with his own flare. Another great album with deeply personal tracks such as “Like Him” which details Tyler’s relationship with his estranged father and reconciling with both him and the scar his father’s absence had left on both him and his mother.
Going from CHROMAKOPIA to DON’T TAP THE GLASS is wild jump. DON’T TAP THE GLASS isn’t a personal record. It’s not intricate, experimental or anything all that serious frankly. The record has one job and one job only, and that is to get you moving and grooving.
DON’T TAKE IT TOO SERIOUSLY
DON’T TAP THE GLASS is a dance record through and through. It’s a shorter album at only clocking in 28 minutes but still contains 10 songs. It’s not here to get you thinking. You’re not here to debate the ongoing personal struggles of Tyler OR of yourself. If anything, you’re being asked to switch off and shut up. The phrase DON’T TAP THE GLASS could be interpreted as “get off your phone”, but frankly I don’t think Tyler wants you to even get that deep. You have one objective and that’s to dance to the songs in a room full of people also dancing to the songs.
The record starts off quick with “Big Poe” where the aesthetic of the record is clear. The production immediately reminded me of Cherry Bomb, bringing back a chunky and abrasive synth in the background with the usual drums that I miss sometimes in Tyler’s music. They almost have this lo-fi sound to them. The lyrics are braggadocios, bombastic and blunt. Tyler’s in his element here, that carefree attitude he’s known for comes out brilliantly on tracks like this where he can just let loose. Pharrell Williams is also on the track with a verse that has this no nonsense demeanor where he doesn’t have time for people not willing to put in the work like he has. It’s a great start and introduction to the album.
Tyler, the initiator?
The next track, “Sugar on my tongue”, is classic Tyler, the Creator. It’s a raunchy track full of euphemisms. It’s short and sweet, there’s lyrically it’s not that dense but the little that Tyler gives us paints enough of the picture. The production is quite simple with a synth keep in beat with the drums followed with Tyler being his own backup singer. It’s a fun track, the melody itself is the one of the more memorable ones.
Going ahead a bit, we’ve got “Stop playing with me”. Again, the production and aesthetics of the song mirror what we’ve had so far. There’s a little bit more going on in the background instrumentals, but the recipe is there. The song has this air of “don’t talk to me, don’t even BREATHE near me”, Tyler taking on this aggressive role where he doesn’t look down on anybody, but he definitely does not see them on his level.
PICK UP THE PHONE: IT’S THE TYLER THE CALLER
Then we get to “Ring Ring Ring” which is my favourite track on the album. The production style is just so fun. It’s catchy and uses some interesting sounds bites like a phone’s ringtone. At times Tyler’s voice actually sounds like it’s coming up through an old phone. It’s not too in your face, but it definitely catches your ear. It’s just a super catchy track with some fun ideas that are well executed.
The motif started off as “just get up and move”, and the majority of the tracks accomplish this. “Don’t You Worry Baby” is something that could be played at a club. In fact, all of the tracks could. The album is just very straight forward. There’s not much to take apart. The production is consistent but fresh on each track. The themes throughout songs can vary. Some are raunchy but others can be quite soft and caring such as “I’ll Take Care of You” where Yebba’s vocals are absolutely gorgeous.
The track “Ring Ring Ring” actually has some pretty regretful lyrics that bop between confusion and anger. It’s interesting that even in an album where Tyler doesn’t want to get you think too much and just move to the music he’s still putting in some meaning. The juxtaposition between the vibe of the album being dance dance dance! And yet the lyrics all seem to contain this arrogance and yearning contrary to the actual wants of the songs.
Overall
Overall, DON’T TAP THE GLASS is a fun little side album for Tyler. He’s shown on the likes of CHROMAKOPIA and IGOR that he can bring substance, concepts and emotions to life through both the music and his lyrcism. And has again asserted that he’s capable of just creating some bops and bangers like he did on CALL ME IF YOU GET LOST. It’s a song about moving and flexxing, which I think Tyler has accomplished pretty well. Is it one of his absolute best albums? I wouldn’t say so, but it’s definitely quite a bit of fun.
