After the memes, the waiting, and the almost complete obscurity of Frank Ocean’s plans as an artist, Blonde is finally here. Ocean is one of the least understood artists of our generation. He takes pride in his privacy from the press and the public. After the massive commercial success of his 2012 album Channel Orange, featuring sprawling melodies, full instrumental sections, and well-handled interludes, many of us wondered how he could improve coming into his sophomore commercial release. Ocean has kept fans in the dark for the better part of four years. But now, a visual album, a magazine, and finally Blonde are all here. Let’s get into it.
The album starts out with a driving Drake-esque 808 beat on “Nikes.” An autotuned Ocean enters the track. Many of the lyrics are snippets of his thoughts or ideas on various subjects. Ocean laces the song with references to the murders of Trayvon Martin, A$AP Yams, and the death of Pimp C, along with personal stories that are neither here nor there. This opening track is disjointed; the lyrics seem like snippets of unrelated ideas thrown together. Also, the lengthy autotuned section could be a turnoff.
Despite the lackluster opening track, the album ramps up with the song “Ivy.” This dreamy love song is pure sonic pleasure. The rhythmic guitars on the track provides structure that “Nikes” lacks. Next is “Pink and White.” The instrumentation chosen for the beat takes me to a tropical vacation. The track is focused and well-executed, and its aesthetic is super sweet, with Beyoncé on vocal backups. These two songs are highlights, and are among the more accessible tracks for those who are not already Frank Ocean fans. However, accessibility is not a trait that defines the album as a whole.
Towards the middle of the album, the tracks move in a deeply personal direction. “Solo” and “Self Control” are the two most personally revealing songs on the album. Personally, these songs serve as catalysts for reflection in my own life. They demand regard for the lyrics. The lyrics of “Solo” reveal much of Ocean’s struggle with both his artistry and his sexuality. “Self Control” features autotuned vocals from Austin Feinstein and later from Yung Lean, a Swedish internet rap success. The recurring lyric “Keep a place for me” is particularly moving, and the autotune on this track is far better executed than that on “Nikes” due to a more convincing blend with the instrumentation. Next on the highlight reel is “Nights.” This track is popular because of its upbeat beginning; however, “Nights” has lyrics fragmented in a manner similar to those in “Nikes.” Then we’re treated to the “Solo (Reprise),” which features an astounding verse from André 3000.
As the album comes to an end, the tracks get more and more ethereal. Tracks such as “White Ferrari” and “Seigfried” are some of the most low-key on the entire album. It’s true, this type of track may test the patience of even longtime Ocean fans simply due to the fact that sonically there is not a lot going on. The lyrics are slow; the instrumentation is sparse. One really has to be in a certain mood to appreciate these songs, but I think they’re an appropriate wrap-up to this laid-back album.
Overall, Frank Ocean has crafted his most personal, sensational, and enjoyable record yet. It sacrifices the grandeur of production for which Channel Orange is renowned in favor of a more subtle sublime taste. Simply due to the low-key nature of the project, I don’t think he will be gaining many new fans off this release, but those who are already committed are in for a treat.
