Last Friday, Drake released his record, “VIEWS,” after announcing the album’s title almost two years ago on Aug. 6, 2014. However, after delivering two modern hip-hop classics last year with his mixtape “If You’re Reading This It’s Too Late” and his collaborative effort “What a Time to Be Alive” with Atlanta-based rapper, Future, “VIEWS” is an entirely different project.
During an interview with Zane Lowe hours before the final release, Drake began to create distance between this record and his albums from 2015. “This album is probably my highest level of vocal performance,” he said. “I had come off those two mixtapes and it was about being in the club and about having the hottest joints. This was more like what is a cohesive, incredible listening experience from me.”
Listening to the initial four tracks of “VIEWS” makes it clear that this project is a side of Drake that appears only rarely. It is a softer and more contemplative dimension of the artist as he delivers much more singing than rap verses.
However, Drake’s decision to only sing on many of the tracks from this album is a risky move that disrupts his winning formula. In fact, many of his most musically interesting and respected songs walk the line between creative raps and singing catchy hooks.
At the same time, “VIEWS” fails to deliver the “cohesive, incredible listening experience” that Drake mentioned in his interview with Lowe. The limited number of themes, boring brag raps and incredibly long playtime of 82 minutes cause the record to fall short on this promise.
The album’s name, “VIEWS,” is also misleading. The title, originally named “Views from the 6,” is meant to celebrate different experiences of the incredibly multicultural city of Toronto. But in many ways, the record loses sight of any other perspectives besides Drake’s singular experience of self-loathing.
Despite the album’s issues, glorious moments still manage to shine through the pity-party and frequent whining about past relationships. Namely, the production by Noah “40” Shebib establishes a smooth transition of musical styles from synths to ‘90s R&B creating the perfect backdrop for an album that centers mainly on reflection. The evolution of styles between songs also successfully reflects the changing seasons in Toronto and serves as a common thread that runs through the album.
Rihanna’s appearance on “Too Good” marks another high point. The track breaks into a summer groove that is enough to shake off the oppressive presence of winter at the beginning of the album and offer a moment of relief from the lull of Drake’s lengthy introspection.
The two harder hitting tracks, “Pop Style” and “Hype,” are also tracks worth celebrating and evidence that Drake is still more than capable of delivering the fury and angst that flowed through many of the songs of “If You’re Reading This.”
“VIEWS” is an album that is centered on delivering emotional vocal performances and reflection about relationships. But its most successful moments are when the brooding is left behind and Drake lets loose to flex his status as rap royalty or deliver a catchy hook with the help of some friends.