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Fast forward a few years later and Chance the Rapper seemed one of the few privileged with information, tweeting lyrics from the hook. A few lines have been teased over the years: “I got two versions, I got twooooo versions,” read Ocean’s tumblr puzzling July 2015 album announcement (that obviously didn’t come into fruition). “Nikes” is a necessary bold opening of Ocean’s project and does a wonderful job of preparing the stage for the rest of the listening experience. The seventeen tracks that make up the album often feel like postcards written in a haze of smoke and then tossed in a pile that may never be sent or melodies that have soundtracked every love and loss you've ever felt. When Frank Ocean looks toward the future, he sees himself regretting something that hasn’t even happened yet - there are fifty ways to leave your lover before you've ever even touched each other. Love fails because it comes without warning, and because he overthinks it it crashes and burns from oversharing and internalizing his feelings alike.
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Over the past four years, there were plenty of twists and turns on the journey to create this sprawling, genre-agnostic work of outsider pop. “Consciously, though, I don’t want straight - a little bent is good.” “Maybe it links to a deep subconscious straight boy fantasy,” Ocean muses. Ocean talks about his obsession with cars.
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Past and present blend, and the album's closer Futura Free freewheels though reflections provided by Ocean, and then his brother in a dated interview with skateboarder Sage Elsesser.Joey Bada$$ serves up a dramatic interpretation of Kanye's McDonald's poem
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Seigfried brings in Elliott Smith's A Fond Farewell for a solemn consideration of mortality. White Ferrari borrows from The Beatles, with haunting spots from Blake and Bon Iver. Close To You covers Stevie Wonder (covering Burt Bacharach), with Vegyn's production chopping and crushing Ocean's vocals. "I'm on this side, I'm on this side," chants Pretty Sweet, marking the turn, after frenzy gives way to a surprisingly fresh drum and bass drop. "Hand me a towel I'm dirty dancing by myself," opens the assertive, grubby Solo. Bey and K Dot are relegated to backing vocals in the biggest powerplay we'll see this year Andre brings one of his best verses on Solo (Reprise).Īfter nine tracks picking up where Channel ORANGE left off, we hit the record's suggestions for the future. Soulful, classic lines find Ocean celebrating his skill his voice is gorgeous and able and he revels in it. Soulful, impeccable production shines on every heartbreak and highlight, and we roll through a recognisable landscape of extroversion, self-reflection, coke, sex, swimming pools and expensive cars. Over seventeen tracks and a holy guestlist including (but by no means limited to) Beyonce, Kendrick Lamar, Andre 3000, Yung Lean, Tyler The Creator, James Blake, Jamie xx and Pharrell, Ocean sets out his vision for the future. 24 hours later, heralded by a magazine titled Boys Don't Cry – long suspected to be the title of his actual album – Ocean came through with Blonde, and a much healthier cut of the takings.Įven more astonishingly, Blonde has survived the media frenzy: it's a dignified, down-tempo celebration of taking all the damn time you need to get something done that's worth doing right.
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The following weekend, on Frank Ocean's own terms, he brought out a visual album ( Endless) which reportedly fulfilled his commitments to his label Def Jam. Even the New York Times confimed the drop. After years of silence, signs and no-shows, the hype surrounding a new Ocean release reached fever pitch on 5 August.