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Tyler, the Creator 'just wanted to be silly again' on Don't Tap The Glass
Tyler, the Creator 'just wanted to be silly again' on Don't Tap The Glass

Perth Now

timea day ago

  • Entertainment
  • Perth Now

Tyler, the Creator 'just wanted to be silly again' on Don't Tap The Glass

Tyler, the Creator "just wanted to be silly again" on Don't Tap The Glass. After 2024's Chromakopia dealt with some heavy topics, from his struggles with his hair to his relationship with his father, Tyler wanted to have "some fun" and cut the "deep s***". Speaking to Zane Lowe on Apple Music 1, he said: "It was being silly, just fun again. Because CHROMAKOPIA was so like, for me... That I'm not saying it's the most mature, deep s***. Everyone has different lives. But for me, whether it's me talking about my relationship with my hair and how that's affected me, or me almost being a father last year, or the relationship that I have with my father now, just so many things that I decided to dive deep into. After the weight of that got off, I just wanted to be silly again. "And, if you listen to the end of Rah Tah Tah, and the end of Noid, and some of Sticky, and even a I Hope You Find Your Way Home verse, just like low-key, my LA accent just really popped in through there. And I was just being silly, just having fun again. And I was like, 'Oh, for this, man, I just want to get back to that, no deep album cuts, no slow emotional s***, no f****** this is where my... I just want to be fun and say outrageous s*** and say s*** that... inside jokes that me and my friends laugh at, and just talk big fly s***. That was the goal. That was the main 100 per cent goal." He continued: "Like, on there, I keep saying, 'Get your funky a** in that tub, b****.' I keep saying that because it's this funny video on Instagram I found of this little girl playing with her doll, saying it, and it's the funniest thing to me. And I'm like, 'Oh, that spirit was the base of the early stuff that I made.' And it was just fun doing that again, and not trying to be good, and precious, and make the most innovative music. Like, bro, over it. No intros, no outros, no bridges. Get to the f****** point. Get to the hook. Get to the verse. No beat switches, no f******... I'm over it, bro." The album has been categorised as dance music after Tyler hailed it music for "body movement", but it's not your standard dance record. He explained: "It's a weird thing because, like bro, I be so open and loud about the s*** I love and that inspire me and this and that, blah blah blah. And I think sometimes the problem is it doesn't go through people's filter, and that's when it gets weird. Listen, man, this album, for example, DON'T TAP THE GLASS, I never called it a dance album. It's just some s*** that I would love people to dance to because it's music that I will want to dance my body to. And that's all type of dance music on there. Some people hear the idea dance music, and they're like, 'Oh, it's techno or deep house, or it's this certain sound.' Bro, if you grew up with black folk, Ring Ring Ring is another one." Tyler added: "Bro, if you grew up in the South and you know New Orleans Bounce, Don't Tap That Glass is New Orleans Bounce. Don't You Worry, Baby, that's Atlanta bass, that's Miami bass. But some of these folks, they didn't grow up within that culture. So, I'll Take Care of You" someone could say, That's a UK jungle record. And some people might be like, You can't dance to that, but that's dance music. Sucka Free, if you grew up in Los Angeles with n***** in Dickies and White Tees and Chucks, with the blower on them, you know that is a two-step record that mother****** Daz Dillinger would f******…do you feel me? But that's all my interpretation of dance music or a music that you could dance to. So, I think it has to go through your filter, and a lot of folks, sometimes it doesn't go through their filter. It do be control-C, control-V, da da da. Yeah, I don't know. It's such a weird f****** thing, dude. It's such a weird thing. I don't even know how to speak on it because it's so... that is the strongest, buffest, like, 'I work out, eat protein,' gray area." Listen to the full interview anytime on demand with an Apple Music subscription.

Is Monday Morning Officially Tyler, The Creator Time Following the No. 1 Debut of ‘Don't Tap the Glass'?
Is Monday Morning Officially Tyler, The Creator Time Following the No. 1 Debut of ‘Don't Tap the Glass'?

Yahoo

time29-07-2025

  • Entertainment
  • Yahoo

Is Monday Morning Officially Tyler, The Creator Time Following the No. 1 Debut of ‘Don't Tap the Glass'?

For the second straight year, Tyler, The Creator debuts atop the Billboard 200 with a new album — and for the second straight year, he does it with just over half a week of consumption to his credit. With just a couple days' notice, Tyler released new set Don't Tap the Glass the morning of July 21 — a Monday, already three-plus days into the Friday-starting tracking week — about nine months after dropping Chromakopia at the same time of the week. And like Chromakopia, which bowed at No. 1 with 299,000 first-week units (according to Luminate), Glass also debuts at No. 1, albeit with fewer units moved (197,000). More from Billboard Jonas Brothers Address Whether They Still Feel 'Guilt' Over 2013 Breakup: 'It Needed to Happen' Billie Eilish Says Irish Fans Make Her Feel 'So Seen' in Dublin Everclear Celebrate 'Sparkle and Fade' With Full Album Tour Down Under Has Tyler's Monday-release strategy been validated by the back-to-back No. 1s? And will this be his first year ranking among the country's top tier of pop stars? Billboard staffers answer these questions and more below. at No. 1 with 197,000 first-week units. Is that number lower, higher or about what you would've expected for the album's bow? Mackenzie Cummings-Grady For only four days worth of numbers, that number is very high. It's right in line with what I would think a Tyler release would do at this point. His fans have become unbelievably rabid and cult-like, and will devour anything he drops regardless of what day of the week it is. Kyle Denis: This is about what I expected. I was hoping it would be able to inch past the 200,000-unit mark, but it's hard to be unhappy with 197,000 units in just four days of tracking. Angel Diaz: That number is very impressive being that it really didn't have a rollout and Chromakopia dropped less than a year ago. I think this leaves no doubt that Tyler is not only one of the biggest rappers out, but also one of music's biggest acts. He deserves to be mentioned with the likes of Beyonce, Taylor Swift, Drake, Kendrick, etc. He has the numbers to back it up. Jason Lipshutz: Higher. Even with the understanding that Tyler is unquestionably an A-list star in popular music, earning a nearly 200k first-week bow with a surprise album, in a shortened chart week, less than a year after his last album, represents an over-the-top success. Last year, Chromakopia represented a smash — and one of Tyler's strongest front-to-back listens to date — so to come up with another of those so quickly highlights just how scorching Tyler's current hot streak is at this point. Andrew Unterberger: Maybe a little lower, just because that Chromakopia number is a full 100k higher. But then again, 197k is still more than Justin Bieber was able to do with a surprise drop in a full week — which is pretty damn crazy to think about when you zoom out on it. 2. Between this and 2024's , it's been two straight early-Monday album releases for Tyler, The Creator. Do you think the responses to the two albums so far justifies this unconventional release strategy for him? Mackenzie Cummings-Grady: Absolutely. It also just shows the power of his fanbase. His supporters are following him specifically as an entity, rather than just routinely checking in for new music every Friday. The fans follow Tyler's every move, and with listeners that dedicated it's clear Tyler can keep dropping whatever he wants whenever he wants. Kyle Denis: Undoubtedly. For two LPs in a row, Tyler has charted the entire tracklist on the Hot 100, pulled in over 100,000 pure sales first-week, and over 90 million opening week on-demand official streams. Already an A-tier music star, Tyler's mid-week releases have allowed him to truly create a spectacle out of his albums that dominates the cultural conversation for the following week and weekend. The tracking week may be shorter, but each album's time in the zeitgeist lasts a bit longer than the timeframe a traditional Friday release might have yielded. Angel Diaz: I definitely think the response justifies this strategy. Now, as a rap writer, I'm not sure which approach I prefer because we have to come up with knee-jerk reactions whether he drops on a Friday or on a Monday. I do appreciate only having to listen to one project on a release day, though. I would like these surprise albums to drop with all the feature and production credits ready to go too, so that we're not playing guessing games as we try to write about them. Jason Lipshutz: The Monday release strategy is a curious one for a major artist like Tyler, who could have collected much bigger first-week debuts with a standard Friday drop but instead prioritized issuing his albums on a day of the week with zero other competition. The buzz that both Chromakopia and Don't Tap the Glass generated upon their respective releases makes up for the missed first-week album units, though: this strategy underlines the fact that Tyler cares less about streaming metrics and more about creating an authentic moment for listeners, an anti-commercial artistic philosophy that has surely been compelling for fans. Andrew Unterberger: Basically. But selfishly, I would like to see him go back to the Friday release on his next one — maybe even with a little more of a promo rollout — just because I want to see what kind of full-first-week number Tyler can pull at his absolute commercial peak. 3. Largely due to the album's mid-week release, the album only charts one song in the Hot 100's top 40 ('Big Poe' at No. 33), but launches all 10 tracks onto the Hot 100. Do you see any of them becoming breakout hits from the set, or is it too much about the full album for one track to stand out like that? Mackenzie Cummings-Grady: I see 'Big Poe' and 'Sugar On My Tongue' branching out a little bit just because of how infectious they are, but at this point I consider Tyler to be an album guy. His fans come for the full experience of his projects, rather than just for a hit song here and there. Kyle Denis: I think 'Ring Ring Ring' probably emerges as the breakout hit from the set. It's dance-forward, has legitimate potential for a top 40 radio breakthrough and features a timeless interpolation of Cherrelle & Alexander O'Neal's 'Saturday Love.' I'd also keep an eye on 'I'll Take Care of You.' Angel Diaz: I'd put my money on 'Stop Playing With Me' and 'Don't You Worry Baby' featuring Madison McFerrin as the breakout hits when the dust settles. However, a 10-track album that clocks in at just under 30 minutes makes it easy for the listeners to press play and let it ride. In a couple years kids are going to hear their parents hit play on 'Big Poe' on a Saturday morning and they're gonna know it's time to clean the house. Jason Lipshutz: 'Sugar On My Tongue' functions like no other Tyler, The Creator tracks that had preceded it, a dance-funk fantasia with more bounce than something like 'EARFQUAKE' and a more propulsive tempo than anything on Chromakopia. This summer has sorely needed a smash hit like 'Sugar On My Tongue,' and I'm guessing it helps highlight the back half of the season on the charts. Andrew Unterberger: I'll say 'Stop Playing With Me' just because it's the one that already has a (great) music video. But honestly, 'breakout hit' is always sorta relative with Tyler, and I think doubly so on this surprise 10-track release. I doubt we'll know what the true fan favorite from the set is until we see which song is unexpectedly still appearing on the Spotify daily charts two years from now. 4. Tyler has never dropped albums in back-to-back years before, nor had a release with such a short rollout. Do you think that means the album will ultimately be considered more of a detour/side project for him, or will it ultimately be viewed on the same tier as his highly acclaimed last few sets? Mackenzie Cummings-Grady: It feels more like a side project, and with Tyler telling us prior to its release to keep our expectations in check, it's safe to say he feels the same way. Whether it goes on to be as highly acclaimed as his other efforts, only time will tell. Kyle Denis: I think it depends on how he continues to roll the album out. If the Los Angeles no-phones listening party, the New York City pop-up and the album's striking imagery are anything to go by, it's more likely than not that Don't Tap the Glass ends up as respected as any studio LP from Tyler. Angel Diaz: At first, I felt like this would be a side thing for him, but given the overwhelming positive reaction it's gotten, I can see some folks holding this tape in high regard because it features some of his best production to date. It's also a lot more fun than Chromakopia. Jason Lipshutz: While Don't Tap the Glass stands apart from Chromakopia sonically, it's hard to separate the two projects right now — especially considering that Tyler is still touring arenas behind Chromakopia. I think that will change over time, though: this is not a Kid A/Amnesiac situation, where a quick follow-up to an album is clearly composed of material from the same studio sessions, and thus tethered loosely together forever. In a few years, these two albums will sound different enough — and represent different sides of Tyler's artistry — that they won't be linked together by their release-date proximity. Andrew Unterberger: When it comes to end-of-decade or all-time lists that only have one or two spots max available for Tyler albums, I doubt Glass will be one that they go with. But I do think fans will certainly cherish it — it's just so much fun, so unlike any other release in the rap great's catalog, and such a fantastic showcase of him at the peak of his powers. Most importantly, it just keeps his winning streak going, and the one he's on currently can only be rivaled by a handful of artists in all of popular music. 5. Though he's been an honorable mention in 2021 and 2024, Tyler, The Creator has yet to finish in our Greatest Pop Stars year-end top 10. Should he make the list for the first time this year, or does he still have more to prove? Mackenzie Cummings-Grady: He should definitely make the list. At this point Tyler deserves all the accolades. His power in mainstream music is undeniable. Kyle Denis: Between Chromakopia's success bleeding into 2025, his massive tour in support of that album and now this new phenomenon of Don't Tap the Glass, I'd say his case damn near solidified. Angel Diaz: I would like to see the list if Tyler isn't top 10 this year, so I can boo it. He's already one of the biggest rap stars in the world, so that automatically makes him one of the biggest pop stars. He writes his own songs, makes his own beats, makes his own clothes, and always has something to say. He should easily be in the conversation in 2025. Jason Lipshutz: Definitely. Two big albums (with 2024's Chromakopia carrying hits into 2025), a major tour, significant festival headlining slots and buzz worthy pop-culture moments, with still five months to go? I'd be shocked if he doesn't crash his first top 10. Andrew Unterberger: It's gonna take a hell of an end to the pop year for this to even be in question. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Four Decades of 'Madonna': A Look Back at the Queen of Pop's Debut Album on the Charts Chart Rewind: In 1990, Madonna Was in 'Vogue' Atop the Hot 100 Solve the daily Crossword

Tyler, the Creator Gives the People What They Want But Can't Figure Out What He Needs
Tyler, the Creator Gives the People What They Want But Can't Figure Out What He Needs

Yahoo

time28-07-2025

  • Entertainment
  • Yahoo

Tyler, the Creator Gives the People What They Want But Can't Figure Out What He Needs

Don't Tap the Glass is Tyler, the Creator's second album in less than a year and, at only 28 minutes, notably less robust than its predecessor, Chromakopia. But all the elements of his work are here: the swaggy boasts, the effortless shifts from deep-voiced rapping to winsome, slightly off-key singing that makes a listener wonder if a second person has entered the booth; and beats that shape-shift like a kid rifling through a toy box. It's the latest manifestation of a boundless creative impulse that has helped him leap from grumpy provocateur circa 2009's Bastard to arena status, an annual music festival in Camp Flog Gnaw, and Billboard chart-topping albums. His musical template of youthful braggadocio and disarming sensitivity should be recognizable to anyone that has absorbed his work. But it's entertaining all the same. Thematically, Don't Tap the Glass is intended to create distance between Tyler's superstar heroics and the 34-year-old Californian underneath the image. But it's mere packaging for an artist that loves to conceptualize his work to make sense of his latest studio adventures. 'Big Poe' unfolds like an early Aughts bottles-and-models romp, complete with a cameo from Pharrell 'Sk8brd' Williams and a sample of Busta Rhymes and Williams' 2002 hit, 'Pass the Courvoisier Part II.' 'Sugar on My Tongue' echoes the oral-sex allusion of the Talking Heads number (as well the 2003 Trick Daddy and Cee-Lo Green cover) as Tyler sings over an Eighties funk vibe. He appropriates the run-on flow ever-present in current rap lyricism as he rhymes, 'So please keep that weirdo shit from me/I'm just stackin' up my cheese, tryna stay sucka free.' Then he claims on 'Stop Playing with Me,' 'When I get to snappin' like doo-wop/Really got the juice like 2Pac.' For the title track, he chirps, 'Nigga said I lost touch with the regular folks/I ain't never been regular, you niggas is jokes,' and copies Too Short's patented 'Biiitch!' for emphasis. More from Rolling Stone Tyler, the Creator Releases New Album 'Don't Tap the Glass' Tyler, the Creator Unveils New Album 'Don't Tap the Glass' Will Release on Monday Doechii and Tyler, the Creator Song 'Get Right' Debuts at Louis Vuitton Fashion Show Tyler's po-faced assertions of gettin' that paper and flying private with Maverick Carter and Lebron James are offset by moments when he sings anxiously, as if his chest-thumping masks a soft interior. While most melodic rap acts attempt to transform their macho desires into post-millennial pop-blues, Tyler deploys an emo voice that trembles with anxiety, as if he's struggling with vulnerability and gender expectations. Perhaps intentionally, there's nothing on Don't Touch the Glass that feels as explicit as when he rapped on 2017's Flower Boy, 'I've been kissing white boys since 2004.' Instead, he duets with underrated alt-soul performer Madison McFerrin on 'Don't You Worry Baby,' ad-libbing as she sings, 'We can carpool, cum at the same time.' In many ways, Tyler's brazen sexuality feels refreshingly Gen-Z. Yet his incongruent coyness also reflects a lineage of Black performers who curate their public lives, carefully hiding secrets from public view. These tensions appear in most if not all of Tyler's work. 'I can buy the galaxy/But can't afford to look for love,' he sings on 'Tell Me What It Is.' Don't Tap the Glass may not offer new twists, but it's still fun to hear Tyler conjure magic tricks like 'Don't Worry, Baby,' which spools together an R&Bass rhythm and is reminiscent of Ghost Town DJs' 'My Boo' and K.P. & Envyi's 'Swing My Way.' If this 10-track album has problems, it's not a relative lack of candor, but Tyler's refusal to break from a patented sound that draws from equal parts Kanye West, OutKast, and Neptunes; and has proved an enduring form of hip-hop in the past decade-and-a-half. He's tried shaking things up before with the clumsy Afropunk flurries of 2015's Cherry Bomb. (On 'I'll Take Care of You,' he revisits the rollicking rhythm of that album's title track, and pairs it with a sample of Crime Mob's 'Knuck If You Buck.') Now that he's matured into such an accomplished musician, one wonders if it isn't worth trying again. Perhaps that's part of the plan for Don't Tap the Glass, too: Give the people what they love, warn the superfans to keep their distance because he's 'Noid,' and figure out what to do next. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword

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