As soon as the great album by Tyler, The Creator from the previous year, was duly inserted and recommended, the 34-year-old, just a year later, amazed with a successor. Unlike Chromakopia from 2024, don’t Tap the Glass is trying to form a little more tighter, more clearly, to approach the Tyler theme cosmos (whitewashing, tangled, unfulfilled needs, disappointment, nonsense).
Recommendations of the editorial team
Suddenly and unexpected
We have to deal with a veritable shadow drop again – the album was not announced – on July 21, simply appeared in various streaming services without really expecting it, at least not so quickly. However, you will have to get used to this, especially when artists: inside it is no longer necessary to bait their fans via promo and snippets or to keep them on the ball. The unexpected popping at Spotify and Co. is now sensation enough, the respective album is probably shared and distributed by the pride that it was first discovered. The whole thing then runs on all by itself and causes a whirl out of itself. You can’t do that better in these cases. And in general: you are almost grateful when the plate is still perceived as such, in the whole piece, so to speak, so to speak …
Don’t Tap the Glass offers everything you can use if you lie floppy around and nothing can get up. In this respect, it is a summer album in the sense of an ice water bucket cast over the head or an annoying roommate who wants to organize grill evenings at the lake and knock against the room door if you want to go through something in peace. It delivers a shaken measure of confusing material. Tyler, The Creator Reenacted Stops of well -known genres and then builds fault factors again, which prevent cheesiness from being created.
Crooked pictures, assumptions, origin
Even the cover suggests that there is ambiguity around the corner, is played with visual habits and expectations that are only half redeemed, especially when you think you really strapped something. Much is consciously wrong to don’t tap the Glass. Anyone who appreciates smoothly polished will be disappointed.
What we see in the artwork is Tyler himself – no photo, rather a collage, its head adorns, logical, a cap with the inscription “Glass”. Just don’t tap the guy. At the second look, it becomes clear that something is wrong with the image of the artist. Oversized gold chain, hands crazy, the face is unpopular. Shifts that, as I said, also find themselves in music.
Of course, you know it, Tyler’s publications are enough artistically, demanding and in terms of daring, always far beyond what the hip-hop mainstream feels a minute spits, but this album really summarizes again, which has happened since its single-handedly, its emancipation from the musical family of origin and has happened. This network of super gifted young artists had mixed up the scene from 2007. At that time, 12 members of various orientations brought about the feat of producing something consistent, groundbreaking from many individual preferences. Frank Ocean, Earl Sweatshirt, Tyler himself and last but not least the fantastic screenwriter and actor Lion Boyce emerged from this network. The latter is particularly successful in the role of Marcus Brook in the “The Bear” series.
The tracks
The genre, the game with souvenir arches on this eighth album of Tyler, is already announcing itself with the first track. “Big Poe” connects 90s rap in the manner public enemys with electroclash bonds, specifies a high pace, which then attracts with the second piece.
“Sugar on My Tongue” is the secret hit of the album. Sexual, Catchy, on the work of Timbaland with Justin Timberlake in the early 2000s. Dancable and driving.
The third track plays something in the style of “Heavy D & The Boyz” with the popular friendly/funky rap at the end of the 80s. However, the whole thing is immediately fished out of the overly sweet soup through sloping choral singing.
“Mommanem” is a downright tripped track that lives from omissions. Pure rap, reduced background rhythms that leave space. Prince moved similarly with his overlay “Kiss”.
“Stop Playing with me” breathes aggressively out of agonia and feelings of helplessness. You almost feel reminded of Peaches in Berlin, at least in parts.
With “Ring Ring” it gets boygroupartially oily, but not, too, too crooked the backing singing, too loud the well -rehearsed ringtone, which annoys rather than support the text.
The title song “Don’t Tap the Glass” continues where Kendrick Lamar ended with his last album and “Don’t Worry Baby” parodies the calm of the companion in the background, as he knows from the early LL Cool J.
“Tell me what it is” comes hymnic/desperate, plays the singing of Tyler’s old companion Frank Ocean with Giorgio-Moroder bonds and Reenacted, without rumbling. You can’t do it any better anyway.
What it may be
Don’t Tap the Glass is not really tangible and then again. You think you can recognize things, you have the feeling of being hugged or pushed from the past, loved one, but Tyler, The Creator just says-breathe cake, is not, all of this is all that is just a fata morgana from sound and explicit texts and even the games with cliché formulating of old hip-hop heroes of the past 30 years, but take it seriously, but take it in New, different contexts and, thank God, add innovation.
The album has only a length of about 30 minutes. This is good because this supports the compressing character of his concept. Clear. Juicy. Annoying. Aggressive. Silly and somehow loving. Really great!