Album Review: Drake - Nothing Was The Same

Drake
Nothing Was The Same
Rating: Grrrr

For arguably the most popular rapper at the moment, Drake sure puts out some strange albums, full of inward looking lyrics and some of the most atmospheric and texturally interesting backing tracks. Most of his records ping pong back and forth between straight up rap tracks and R&B crooners, sometimes blurring the lines between both. I find him more interesting when he sticks to one over the other, his raps being more of his hyper-id personality, full of broad boasts and some of his most chillingly harsh attacks on women, friends, and family, while his more vocal focused tracks find him in a more contemplative mood, looking deep inside himself, being his most harsh critic. His last record, Take Care, is, for me, the most representative and best of his records, finding the right balance between his two personas. That is not to say that his latest record, Nothing Was The Same, is a less impressive release. It is still one of, if not the best hip-hop records of the year, but for me it is Drake really trying to find himself, and with that stretch, the record is a bold experiment that works almost all the time. But when you stretch this hard, it is bound to be a mess at points, and there is a lot to criticize here, but overall, these mistakes somehow make him more human.

Nothing Was The Same is a dark, behemoth of a record that practically drowns you in its sonic bleakness. It is a record of immense highs and devastating lows, where you practically get overwhelmed by being in Drake's mind for so long. It is not a fun record at all, and at times, the oppressiveness can take its toll, however, you keep finding yourself coming back to this album as it takes its hold on you. Starting off with the 6 minute opener "Tuscan Leather," the track finds Drake bragging and then lamenting failed relationships almost back and forth, as he and collaborator Noah "40" Shebib never let you get a hold on the beat, as it frequently changes throughout the run time, feeling like almost four different tracks put together. "Worst Behavior" is perhaps Drake's most blisteringly mean track, him spitting his lines out like a machine gun over dense synths and splattering beats.



He lightens up a little bit on hit single "Started From The Bottom," with its slippery bassline, slapping percussion, and dreamy, ambient piano samples.



But the majority of the record is a bleak affair, especially the deeper you get into the record. From the ominous and dark track "The Language," the frantic "305 To My City," to the dark tale of a toxic relationship in "Connect,"



there is a underlying sense of darkness and treachery throughout Nothing Was The Same.

I respond more to Drake when he is in his singing mode, as I feel he takes more risks and connects more to me as an artist. It is in this mode where Nothing Was The Same truly shines and takes his music to a whole other level. From the amazing single "Hold On, We're Going Home," where Drake channels his inner Marvin Gaye and puts out his most achingly human vocal,



"Wu-Tang Forever," with its subtle use of ambient textures and a lonely Wu-Tang Clan sample,



to the absolutely stunning vocal turn on "Own It," where Drake really lets down his guard.



On this record Drake is definitely trying to find the right mix of rap and singing that works best for him. While not always successful, there are several moments where there is an interesting contrast that suits him well. On the gorgeous "From Time," stark piano chords along with the haunting vocals of singer Jhené Aiko bump up against Drake's interior feelings about his family.



While on "Too Much," UK singer Sampha's earthy croon is the perfect counter to Drake's feelings of loss and estrangement.



Nothing Was The Same is a complex, intriguing, frustrating, exasperating, yet ultimately successful record that is Drake being Drake, for better or worse. While he is always going to have his detractors and naysayers going after him, he is truly, aside from Kanye West, the biggest innovator and envelope pushers in the hip-hop field today. What I like about Drake is that you never get something half-assed from him, he does what he likes. And people respond to that; and that is true art.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.