Drake / 21 Savage: Losing It

There are tracks lose itDrake’s new semi-collaborative album with 21 Savage, which seems like a natural progression of those from 2009 He went too far. “Hours in Silence,” for example, is about a more lively rap song from Memphis that sounds like it’s being played back underwater. Drake is half a charlatan through his web of gossip and self-mythology, where cryptic comments on exes bosses and villains drawn from mob movies equally affect his mind. As he once did with Lil Wayne, he ceded a little time to a sexier Southern rapper before singing, over and over, that things were ‘my fault’, lines that pleaded ‘of course not’ the counterweight of an ex-lover who would exonerate him, But he does not come.

This short song from 21 finds the Atlanta rapper influences something a little less than the impression of Drake, the danger posed by armed foes sounds almost romantic (“they’re looking for myyyy faaaaace”). But a lot at his expense, lose it 21 is relegated to a supporting role, while neutralizing the compositional and thematic contrast that sold “Jimmy Cooks,” the beloved hedge “Bound 2” placed at the end of Honestly, NevermindDrake’s dance-focused album was released earlier this year. There are moments of thoughtful writing and bursts of Drake at or near his mischievous best, but in the midst of them, the record becomes lethargic, making bits of self-conscious hate appear tense rather than exhilarating, as if the identifier could be focused on-collected.

in its beginning, lose it It hints at a more fluid and natural reaction. After a brief introduction from Atlanta’s Young Nudy—whose rambling style in his inner monologue was a welcome destabilizing force on this album—Drake opened “Rich Flex” with a rap genre for one another (“21, Can You Do Something for Me? He went too far To recall groups from the eighties and early nineties. All the while, he and the 21 are most effective when they imitate each other, as 21 does in “Hours in Silence” and Drake does in “Major Distribution,” or when they fall back into their opposite stylistic poles: Drake skips “BackOutsideBoyz” like the only man who Sad in a nightclub, 21 raps to “More M’s” that “I was in their rooms / I never thought”, his language economy is more disturbing than ever.

It’s the muddy, drake-dominated floor that often doesn’t work. As the album title appears to be, lose it Filled with very bitter online barbs of women who betrayed Drake and 21, wronged them in other unspecified ways, or simply drifted into digital sprawl. Both artists, especially Drake, pawned songs on these past years; What drags down lose it Not so much a moral failure as a creative failure, in the sense that Drake is Turning the big dial named MISOGYNY while looking forward to an imaginary audience for approval. Sometimes it’s colorful (from “On BS”: “I blow half a million on your pickaxe, I’m a feminist”), but more often than not, it’s boring, even somewhat frustrating. The banter about the group chats looks as if it came from Twitter, and joke lines like the already famous ones circulating on rumors that Megan Thee Stallion was lying about being shot by Tori Lenz made Drake desperate for provocation, not in his ideal situation: someone who was tortured by Through the competing motives of withholding and extravagance.


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