上个月，响应由被doxxed肯伊·韦斯特，因为他们的仇隙升级，而它们各自的唱片发行的临近，德雷克张贴了最具无忧无虑的自己的视频 - 在可换股中喋喋不休，多伦多夜空滑行在他身后，一个情人的心脏蚀刻到他的发际线上，光束，看似甚至受到威胁的讽刺。在他刚刚发布的新专辑“认证的情人男孩”中，Drake再次回应西方传播他的地址，这次用它言语。“Get that address to your driver, make it your destination / ‘Stead of just a post out of desperation,” he raps on “7am On Bridle Path,” easily the most instantly chattered-about track, firing shot after shot at his peer, sounding as unbothered as he looked on camera. Unlike West, whose trail of antics beefed up hype around the release of “Donda,” Drake projects contentment, sending out the message that his own new record will need no such theatrics.
事实上，尽管只有一对夫妇直接的促销力度，这张专辑会欺负图表 - 当你读到这，12首曲目超过彼此就像水桶里的螃蟹可能攀登，达到了每顶上相关排名插槽。“仅就德雷克的时代，男人，我们的黄金时代，”后来他敲了敲同“马道”的轨道。根据大多数的措施，他是正确的：一些艺术家一直保持着对音乐或文化的束缚，在大，只要他有。正是这种能量 - 一个超专注于维持他的统治 - 这让他微笑。这也是什么使他的新专辑一个说唱歌手的确认部分被困在流行巨星淤滞。
“认证情人男孩”是一个完全正常的纪录 - 这是昂贵的制作精良，像所有的Drake的专辑，并与一个体面的安打率的将近小时和一个半纪录容易讨人喜欢。但它正式邮票德雷克自封黄金时期的东西也可能被认为是他的“播放列表的时代。”In the last five years leading up to this record, Drake has released one official album (2018’s “Scorpion”), but also a long playlist of original tracks (“More Life”), a repackaged bundle of past loosies (“Care Package”) and another collection of “demo tapes” (“Dark Lane Demo Tapes”). The highly successful strategy here is to keep his hold on the culture, while we wait for the real-deal album material. Through that B-side pile, we’ve received a trove of really memorable cuts — songs that shoot straight into playlists for partying, late-night moodiness, and cutting underdog bangers.
然而“认证情人男孩”，一年期间延迟了一年多，存在于同样的静脉：不像一些精致，凝聚力的工作，但往往令人慢于兴奋，快速传染和absent of any noticeable evolution or risk from someone who might credibly be considered the world’s biggest artist. It’s an album that feels like the work of a fan curating an enjoyable but ultimately unadventurous mix of Drake’s works from the last five years or so. “7am On Bridle Path” is a typically strong entry to the AM/PM series (“4pm in Calabasas,” “6am in Toronto,” etc.); “Fountains” is a stale follow-up to his other dancehall tracks, a la “One Dance”; “Girls Want Girls” is another infectiously moody, melodic R&B trap that could be a fresh version of “Time Flies”; “TSU” is a catchier, smoother “Greece”; “Knife Talk” is a lesser version of another21野蛮人协同合作，“偷偷溜。”
除了缺乏脂肪，修整 - 尤其outstays下半年的欢迎 - 还有一些不错的新高：“N 2深”来说，是冒险的德雷克已经一段时间了，其上半年组过一个那种感觉无意间让人想起“监狱”，从“唐达，”坚韧不拔的吉他，然后一个标准，但仍然满足跳动开关来一回的往复与未来。Speaking of whom, “Way 2 Sexy,” featuring Future and Young Thug (following up the trio’s 2020 collab, the stellar “D4L”), is perhaps the album’s most polarizing track: the beat is glorious and boisterous, while the core sample (Right Said Fred’s “I’m Too Sexy”) and Future’s chorus are immediately cringey, even as the naturally zanier Young Thug slides in with ease.
“Champagne Poetry” can feel like an at once remarkable and uneven opener: it has the pristine, ambitious energy of most of Drake’s album intros, but its effect is heavily diminished for listeners who are already familiar with the already popular Masego track “Navajo,” mirroring that song’s sample here with a Beatles interpolation. The build-up in the second half of the song is well-orchestrated before becoming suddenly anticlimactic (drums after its high point feel glaringly absent). The bookends of “Champagne Poetry” and the closer, “The Remorse,” make for the only distinction between this official album and his more recent mixtapes. Like most of his intros and endings, these tracks strive consciously for something more epic, more confessional and more somber than the album necessarily merits.
But rewind to the grand, bombastic winter chill of “Keep the Family Close,” the opening song to 2016’s “Views,” and you get the sense that Drake is now not simply past the point of really doing something with his records — he simply doesn’t care to anymore. “Views” saw him anointing himself as an undisputed hall-of-famer, sitting on CN Tower, looking over what he had conquered. What else is there left to do after that but hand-wring over maintaining your territory? It’s why the subsequent “Scorpion” was such a bloated mess — more songs for more charting.
凭借这张专辑，我们似乎已经远远超出期待着什么艺术挑战或德雷克开创性的地步。他是，从广义上讲，在世界上，酒吧没有最流行的说唱歌手 - 这是明确表示，在他的最后的项目屈指可数，他一直迷恋，甚至困扰，通过这一事实。一切都镀金，美丽在上面，但他也似乎是一种倒置的迈达斯国王的，由东西，他倒是会最终没有转向黄金无时不在的恐惧诅咒。
这是一种似乎采取个人收费的压力;忘记忠诚和破碎的关系挂在这些歌曲中，就像他们过度过去的专辑一样。Yet, rather than maturing, Drake has only leaned harder into his heartbroken pretty-boy schtick — from the his heart-engraved hairline to the album’s shameless title to the jokey baby-mama emoji album cover, he seems to have decided to go all in on the modern fuckboy archetype he almost single-handedly cast. If you look more closely, you’ll notice the incongruence of a crooner who is also a 34-year old father wondering how much to pay his lover to shut up (“Pipe Down”). On “In the Bible,” a surprisingly stale track with Lil Durk and Giveon, Drake sings on a dead chorus: “You don’t know love, you don’t love me like my child” — a bizarre defense, effectively hiding behind his son, to explain away emotional stuntedness.