Himothee

3y

Shothimindaylight

Shothimindaylight

Shothimindaylight

Shothimindaylight

Himothee

3y

Shothimindaylight

Shothimindaylight

Shothimindaylight

Shothimindaylight

onyx

3y

@Vietbrah can we get a timeline going estimating when each song was recorded

OVO chef

3y

https://krakenfiles.com/view/C0pEY4YdPo/file.html

🍽

doot doot

3y

All these paragraphs for an album with “Bend that ass over, let that coochie breathe” as a hook

doot doot

3y

All these paragraphs for an album with “Bend that ass over, let that coochie breathe” as a hook

orangetcovid

3y

Na. Even how drake first comes on. The structure and mix wasn't done properly

americana

3y

I’ve listened three times:

What I wanted: I didn’t really need much from this project. I didn’t need concise ideas or some complex topic. All I really wanted was for him to bar out (I’d missed it for a while) and for there to be cohesion in the sound, maybe through transitions or through common producers. I also wanted some new features!

What I expected: I expected for this album to be more R&B/dance focused with a bar-out here and there. I thought he would make a shorter album this time around too

What we got: This album is 90 minutes long and 23 tracks, spanning all kinds of genres that Drakes covered before. We have bangers across much of the beginning half, even dipping toes into the rage sound. The midsection of the album really slows down, with a few drumless R&B joints and downtempo bangers before picking back up with some dance tracks and faster joints featuring SZA, Bad Bunny, Sexyy Red, and Yachty. The album closes out with two pretty slow tracks as well. There’s samples, sound bites, transitions, cameos, and beat switches everywhere

What I Liked: I loved the diversity here. Drake spent a lot of this album trying styles I hadn’t heard him on before, especially on Rich Baby Daddy, Gently, IDGAF, and Calling for You. Some of the singing tracks, like BBL Interlude and Members Only, were great. Daylight’s Adonis feature actually hard. Basically all the features showed out and did their things. The production was pretty interesting, but I’ll have my criticisms.

Drake also had some good writing on parts here. The tongue in Cheek lines, his references to Rihanna and Universal, nods towards other beef, the absolute masterpiece of 8am in Charlotte, very nice very nice. The bounce on songs like Another Late Night, What Would Pluto Do, 7969, Away From Home and Rich Baby Daddy immediately put them in my downloads. Some of the narratives in this tracks remain entertaining and engaging.

What I Don’t Like: This album lacks exactly what gave HNVM and Her Loss their charm, which was a sense of identity. Even if the sound wasn’t uniform, attitudes and sequencing gave the albums a sense of direction that this album lacked to an extreme amount. Why was the Bad Bunny song here? Why did the album end on an R&B track that could’ve been in the midpoint? What exactly is the reason for a Yeat song being here? WHY IS BARK RADIO ON TWO SONGS FOR THIS AND NOWHERE ELSE? It all makes no sense, there’s no narrative or idea that helps this project move forward. Drake said this was an old drake album, then a summer sounds album, then an r&b album, and yet it’s none of those things because it tries to be all of them. It’s the same hole that CLB fell into

However, CLB was not nearly as cringe and as half-baked as some of the moments here. WHO is DJ POOPERSCOOPER and HOW did he get a minute on the song that had Chief Keef for 8 bars? WHY is there a DJ Screw song shoved in here, especially in the middle of the R&B segment? WHY is there a minute long interlude in the middle of Calling Your Name? WHY did they choose to use the word “gangy” on Members Only, which sounds TERRIBLE when they sing it 16 times in a row? WHY was this Bad Bunny collab picked by anyone to be on ANY project? There is no reason any of these things couldn’t have been eliminated or improved on to increase the project quality.

My criticisms of the production and performance by Drake continues. Calling Your Name’s beat it terrible, I’m tired of beat switches, especially when drake had the opportunity to go toe to toe with Cole on the same track . I’m tired of Drake bringing bland and terrible Melodies for 15 minutes straight on tracks with little to no drums . I’m tired of producers trying to sample flip like 40 and not coming near to flips like Virginia Beach.

Conclusion: Idk, I didn’t want much. Drake’s inflections and energy were getting more interesting even if his bars became a little less focused. 8am really excited me, and the features all did a great job. The production kinda fell flat for me and drake sounded so bored that even the good lines passed through me. Maybe I’ll come around

6/10 / C+

wade

3y

Radio?

gnarlynasty

3y

I hope so too, i don't even know if we've ever gotten a happy Drake on a record yet tbh. I think TML, More Life and What A Time To Be Alive are kind of his happiest records. I think thats why alot of people are downing FATD, he seems passive aggressive, kinda angry at this point, and it sorta reflects in the music.

How does the most honest, introspective rapper ever just become such an a******, and how does he handle it, by turning up the douche-ness to 11. I think deep down, Drake has bigger dreams and aspirations then he does now, but imagine having everything but the things you don't have, are the most notable things missing.

I think thats where Drake is now

Mac Wit Da Cheese

3y

Future & Drake’s music won’t mature until their lives reflect that maturity. They’re still living the bachelor life

americana

3y

@davey

orangetcovid

3y

I rate it.

The pooper-scooper critique is not it tho😭😭

Draxx556

3y

And only Drake catches flack

young majid

3y

Buddens take was pretty accurate and I’m glad he said it, that’s the type of constructive criticsm that I appreciate tbh

saturndiamond

3y

real recognize real