Not even nine months after his last studio album, ‘Chromakopia,’ Tyler, The Creator, has released a new album with almost no notice. As a lover of a good album rollout, this surprise release is very uncharacteristic of Tyler, as is much of the album itself.
2024’s ‘Chromakopia’, much like many of Tyler’s other albums, had lyrics layered with meaning as Tyler delved into more sensitive and personal topics. This album, however, lacks those deeper bars and conceptual ideas, with Tyler even tweeting himself the day before the album’s release, “yall better get them expectations and hopes down this aint no concept nothing”. With Tyler already still on tour with his previous album, which he dedicated a lot of time to making, there is no need or time to craft another concept album. At a runtime of only 28 minutes (easily his shortest record to date), this album instead seems to be the result of a creative spark from the rapper, with the purpose of being enjoyed rather than dissected.
An electronic voice welcomes us to the project with a set of rules to follow as we listen. Number 1: “body movement – no sitting still”. Tyler has voiced before his dislike of how passive listening to new music has become nowadays. He believes that music should be released on Mondays again (like he did with this album) so that people can really immerse themselves in the music on the journey to work or school, rather than playing it in the background on weekends. The first rule in listening to this album demands that you must not be set in place. Tyler states that dancing, driving, running, or any type of movement is recommended to understand the spirit of it.
Number 2: “Only speak in glory – leave your baggage at home”. Tyler encourages you to let your problems and stresses dissolve as you consume this album. Allow yourself to fully embrace the music. Number 3: “Don’t tap the glass!” The final rule, also the title of the album, commands the listener not to tap the glass. The audience must not interfere with or poke fun at Tyler or his music as if he were an animal in an enclosure. Allow him to express himself and his energy through this album. I think this last rule could also be asking the listener to stay off their phone or any other touchscreen in order to fully enjoy the project.
I have to admit, on first listen, I broke all of these rules and put it on in the background of my gym set. The result was that I didn’t enjoy it all that much, or at least it wasn’t up to Tyler’s standard. But I was missing the point of the album. This isn’t meant to be his best work, this is meant to be fun. On second listen, I went on a walk, and I engaged with the album and ended up enjoying it a lot more. This project is just so exciting and vibrant. I couldn’t help but have a little skip in my step as I heard the groovy beats and quick flows.
The first three songs on the tracklist are so hype. The grungy, aggressive synth beats that are so signature to Tyler’s sound now are energetic and fun and sound like Tyler’s own spin on The Neptunes’ style of production. Pharrell actually appears on the opening track as Tyler, and he go verse for verse on these awesome, infectious flows. It’s electric. It’s not hard to enjoy these opening tracks, even if you don’t know the lyrics, since the hooks are catchy and repetitive. ‘Big Poe’, which introduces us to Tyler’s persona for this album, features a sample of Busta Rhymes’ iconic ‘Pass the Courvoisier Part II’, again allowing for a hype moment that a wide audience can enjoy. It’s clear through the beat drops and changes in tempo that this was made for a crowd.
Another upbeat and accessible song and a highlight on the tracklist in general is ‘Ring Ring Ring’. This late 70s disco-inspired beat samples Ray Parker Jr, and paired with telephone sound effects and high-pitched vocals, gives off a very nostalgic vibe. With a very satisfying pre-chorus and another catchy hook, you can tell this will be a fan favourite.
Tyler also stays true to his eerie, horrorcore style on the production of ‘Stop Playing with me’ and ‘Don’t tap that glass/Tweakin’. The latter continues Tyler’s tradition of a double-part song after its brief hiatus on ‘Chromakopia’ and features some of Tyler’s best rapping on the album with great flow and structure. Baby Keem also appears on another Tyler, The Creator album, just to deliver a very short adlib. Will Tyler ever give him a verse, or even just a word?
Tracks 8 and 9 slow it down a bit more with soft, delicate vocals from Madison McFerrin and Yebba, respectively. These are just great examples of Tyler production at its best, with beautiful synth progressions, perfectly placed harmonies and piano riffs, vocal samples, and fast drum patterns. While Yebba is at the forefront of ‘I’ll take care of you’, the song also features a heavy sample of Crime Mob’s ‘Knuck if You Buck’ crescendoing in the background, adding immensely to the track. That drum refrain makes this my favourite off the album.
Although this album can sound a bit goofy at times and lacks the usual complexity we see with Tyler, it does exactly what it’s trying to, and that’s not taking itself seriously. It symbolises dancing without anyone caring, inclusivity, the freedom to do whatever you want without the fear of external judgement. It encourages you to enjoy it exactly how you want to, without judgement. To let yourself free to the energetic and groovy beats.
If you decide to listen to this album or if you have already and didn’t enjoy it much, remember to follow the rules. Keep yourself moving, leave any other stresses out to allow yourself to fully engage, and DON’T TAP THE GLASS!
7/10