November 1, 2023 by Elias Prodger (‘26)
Few artists in the past ten years have had the same cultural impact as Aubrey Graham, more familiarly known as Drake. Music based on an accessible fusion of hip hop and RnB has facilitated his meteoric rise to fame over the past decade. Albums like Scorpion and Nothing was The Same offered an onslaught of catchy melodies and lyrics about his very long list of enemies, a blueprint that has continued to penetrate and influence the mainstream rap and pop scene over the past decade. So, as we enter his 15th project, I was hoping to get an innovation or reinterpretation of his classic sound. And did we get that on this record?
No.
Absolutely Not…
Now let me be clear, I was not expecting a massive creative undertaking or enormous shift in esthetics going into this record. Following his last solo release, his 2022 record Honestly, Nevermind, we saw Drake fully embracing the house and dance influences that had been impacting his sound since the early 2010’s albums. And despite a few widely liked singles like “Sticky” and “Jimmy Cooks”, the album received widespread critical and fan backlash, with across-the-board agreement that Drake’s interpretation of these sounds felt cheap and bastardized. So, as I entered this album, I expected a return to form, a collection of his moody RnB and straightforward rapping performances. But I also expected the bloat that has plagued the second half of Drakes discography. Drake’s recent albums have lacked any amount of creative editing or filter. Records with 15+ songs that, despite the gems and bangers within, break even with filler songs and cringey moments. And that is exactly what we received in this record…
Going in, we start the project on one of its strongest legs. “Virginia Beach” contains some of Drakes’ best melodies and samples on the record. Drake croons a satisfying melody over an atmospheric trap beat. The pitched-up sample and thundering 808 bass makes for a straightforward Drake song that sets the tone for the record beautifully. The piano on the following track, “Amen,” as well as Teezo Touchdown’s gospel inspired hook adds one of my favorite instrumental moments on the record. While providing a cool fuzzed out bass synth, the following track, “Calling For You,”, gives an utterly forgettable Drake performance and melody.
Nothing from this track list has any replay value until we get to the 6th track, and the album’s highest moment, “First Person Shooter.” Anytime I see a J Cole feature on a song, I am filled with excitement because of J’s recent run of memorable features. And it’s fair to say, this song absolutely did not disappoint. The hard-hitting bass on the track and the beat switch in the second half allows J and Drake to just take turns trading bars. They both add a ferocious energy that makes this track one of Drake’s best in years. Truly a highpoint on the album and in the second half of Drake’s discography.
But past this, we experience a quick fall from quality. “IDGAF’s” combination of Yeat and Drake is utterly pointless and awkward to me. I love it when two sides of a genre can collaborate and give the audience a new experience, but I cannot say the same for this track. Drake feels supremely uncomfortable in this unfamiliar environment, and the song feels like a baseless plea for Drake to appeal to a new audience and gain some sort of internet approval. Lead single “Slime you Out” with SZA adds atmospheric synths with great vocal performances from both. I loved this choice as a lead single. And at this point in the track list, I was feeling comfortable and enjoying my experience with this album. And when I look down at my phone, I realize this is song 9 of 23…
Past this point, listening to this album was a chore to finish. After Slime You Out, I had to wait 10 tracks just to reach my favorite track on the album, his second single called “8AM in Charlotte.” The soul sample on the track is utterly beautiful, and Drake fits the moody and almost aquatic vibe of this track perfectly. But every other track on this journey is either completely forgettable or downright terrible. SexyRed’s feature on “Rich Baby Daddy” is passable, but Drake’s robotic autotuned delivery makes this song go in one ear and out the other. In addition, SZA’s feature is nowhere near as memorable as her appearance earlier in the record. Drake trying to Rap in Spanish with Bad Bunny on “Gently” is utterly tasteless and even a 2:17 runtime feels impossible to finish. Even as I listened to this album for the 6th time while writing this review, half the tracks on this album were not memorable enough to recount if you paid me.
In conclusion, this is a Drake album. It’s become a stereotype at this point. Despite songs like “First Person Shooter” and “8AM In Charlotte” fitting great in someone’s gym playlist or a playlist to walk around downtown, I can’t recommend anyone dedicate their life to listening to all 23 tracks on this record. This album is not for every dog.
2/5 Blue Streaks