"Welcome / Number one, body movement / No sitting still"
From the first few lines of the Pharrell-influenced opening track "Big Poe," Tyler, The Creator makes it clear that his ninth studio album "DON'T TAP THE GLASS" is focused on getting us out of our seats and onto our feet.
The initial indication that "DON'T TAP THE GLASS" would be different than any of Tyler's previous projects was its cover. The artwork depicts Tyler sporting nothing but an embroidered ball cap, some chunky jewelry and red leather pants — a sharp contrast from his distinctive, preppy style of cream-and-pastel-colored cardigans, pleated shorts and penny loafers.
"DON'T TAP THE GLASS" isn't another concept album like "CHROMAKOPIA" and "IGOR." Instead, the spontaneous 10-track, 29-minute release is intended to be consumed as a dance album — and a really good one at that.
READ MORE: Tyler, The Creator reignites his light with 'CHROMAKOPIA'
The production, done solely by Tyler, remains dominant from start to finish. "Sugar on My Tongue" is a synth-abusing, disco-inspired track that makes it challenging not to flail your limbs around in sheer abandon. "Don't Tap That Glass / Tweakin'" adds to Tyler's resume of two-part songs, utilizing a frenetic, punchy flow reminiscent of his older work. "I'll Take Care of You" is a beautifully crafted emotional ballad that runs the gamut from yearning to dancing those heartaches away. "Ring Ring Ring" sounds like it could've come straight off a Michael Jackson album (and quickly found itself as my phone's new ringtone).
Despite the album's compelling sound, there were certainly weak spots. "Mommanem" and "Tell Me What It Is" are both good tracks, but they're not particularly danceable, taking away from the cohesion of the upbeat, groovy atmosphere Tyler curates with the other eight tracks. The album is also less lyrical than previous projects, but that's to be expected with a dance album. We're not really racking our brains so much as we're rocking our bodies.
The impact of the album didn’t hit me when I wrapped up the final track; instead, it registered shortly after when I went on to X (formerly known as Twitter), and saw a note from Tyler explaining the album's purpose.
"I asked some friends why they don't dance in public and some said because of the fear of being filmed," Tyler said in the post. "It made me wonder how much of our human spirit got killed because of the fear of being a meme, all for having a good time."
READ MORE: Opinion: It's time to take the 'non' out of 'nonchalance'
Music and art serve as an escape from the mundane, helping us transcend the stressors that bog us down. Music and movement have to coexist — removing the latter from the former effectively kills its potential to be enjoyed to the fullest extent.
After another healthy dose of doomscrolling, another tweet from Tyler came up. This time, he was lambasting a post comparing "DON'T TAP THE GLASS" to one of his earlier projects.
"it hasnt been 10 hours, just let it be what it is," Tyler wrote in the post. "please just let it rock if you rock with it and if you dont then move the damn on lol."
It seems to Tyler that the manner in which the general public consumes art is inherently flawed. Discussions and hot takes take center stage in place of the art itself. Although comparing albums amongst themselves is certainly valid, reactionary culture has pushed us to ferociously consume media, compelling us to immediately drop a rating rather than giving ourselves time to truly digest it.
READ MORE: Insight: We can't let reactionary culture ruin art consumption
Above all, the fear that stops us from naturally dancing along makes us forget to let loose, and because of that, we lose the ability to express ourselves in a purely authentic demeanor.
"DON'T TAP THE GLASS" doesn't tell a story, nor is there an elaborate picture painted by Tyler's lyrics. But every piece of work sends a message when you're as established as Tyler is in the contemporary zeitgeist. Here, he gives the public an impassioned, funk-laden plea to return to movement. He implores us to stop "tapping the glass" and to start dancing, fully enjoying the present's occurrences without fear of judgment.
Although Tyler's most recent creation is neither generational nor genre-altering, it was never meant to be. Despite its low-stakes nature, the project is certainly a spark for starting conversations about how to experience art in a gratifying manner that serves justice to artist and audience alike.
Rating: ★ ★ ★ ★ ☆
Editor's note: The opinions presented in this review are the author's and do not imply any endorsement from The State Press or its editors.
Edited by Jack McCarthy, Leah Mesquita and Pippa Fung.
Reach the reporter at stroeste@asu.edu and follow @samtroester on X.
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Sam is a junior studying political science with a minor in business. This is his second semester with The State Press.
