Frank ocean albums run time
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The album hit Tidal on February 14, but later that day West took to Twitter to announce, “Ima fix wolves” - and, indeed, he later tweaked the album track “Wolves.” While these albums have a sense of being fussed over behind the scenes, that feeling was made public with The Life of Pablo, a record that West continued to mess around with even after consumers had a chance to hear it. Beyoncé contained big hits, but all three LPs are meant to be played as complete works, their themes playing out and resolving over their running time. For D’Angelo, the long incubation period generated dense, funky tracks that unpacked America’s racial divide and examined love’s ability to heal those wounds. Beyoncé made records that chronicled her search for self-worth and contentment ( Beyoncé) before delving candidly into the darker aspects of marriage and racism ( Lemonade). With both artists, though, the time spent laboring over the albums resulted in focused, thematically rich releases. By comparison, D’Angelo hadn’t released an album since 2000’s Voodoo, and there was a decade of reports about the follow-up being worked on, adding to the expectations. In that regard, Beyoncé has been in the enviable position of releasing Beyoncé and this year’s Lemonade with zero buildup - people hadn’t been waiting years for an in-the-works album. (Adding to the event-like atmosphere around these releases, acts like Beyoncé and Ocean have supplemented their new records with so-called visual albums Ocean also put out a collectible magazine that featured, among other things, an interview with his mother.)īut to maximize that surprise, artists have to be sure that they’re delivering the goods, which no doubt puts pressure on the unveiling. This strategy, which has been embraced by everyone from hip-hop artists (Drake) to country acts (Eric Church), has helped re-establish the album as a vital artistic statement, making LPs feel like legitimate events. Part of Ocean’s perfectionism may very well stem from living at a time when the most exciting thing in the music industry is the surprise release - that out-of-the-blue shock of discovering that a Beyoncé or a Black Messiah is available right now on iTunes. You don’t come to Blonde for a single - you come for an experience. One of Channel Orange’s tracks opened with Ocean singing, “The best song wasn’t the single,” and Blonde seems even more determined to prove that point, forcing listeners to comprehend his artistry over the course of an hour of bits and pieces of sounds and moods. Like Ocean’s previous album, Channel Orange, it’s a record that’s more about subtle shifts in tone and feeling than it is a top-to-bottom collection of surefire hits, with contemplative, spoken-word digressions mixing with song fragments and avant-garde compositions.
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FRANK OCEAN ALBUMS RUN TIME TRIAL
“To do that takes constant tweaking, trial and error.”īlonde proves Malay wasn’t just blowing smoke. “It’s about making sure the perfect aesthetic for the situation has been reached,” explained Ocean’s producer Malay when asked about Blonde’s delayed release. As a result, they’re re-energizing the LP in the internet age, even when the long process of making a terrific album is at odds with fans’ expectations of a regular stream of new content. These aren’t concept albums, per se, but for any of them to really click, you’ve got to hear them from beginning to end, preferably in one sitting. Frank Ocean’s Blonde - released on Saturday after four years of near-silence from the singer - is the latest example, but it’s indicative of the trend pushed by Beyoncé’s last two records, Kanye West’s The Life of Pablo, D’Angelo’s Black Messiah and Radiohead’s A Moon Shaped Pool. But at a time when the artistic heft of a full-length record has been diminished in favor of the ubiquitous single, some of our best musicians and bands have almost willfully swum against that tide, delivering albums that don’t fit into easily digestible hits-plus-filler compilations. As Rolling Stone pointed out recently, “album sales have fallen about 60 percent in the past decade,” largely thanks to illegal downloading and streaming services. According to conventional wisdom, the internet killed the album.
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