Damian Gordon/Staff Writer
“More Life” has me thinking that Drake needs to take more time off from making songs.
The playlist is comprised of many songs I will dunk, Shaq-style, straight into the recycle bin by the week’s end.
My opinion of this project was more favorable during my first listen as there were not any horrendous lyrics or beats. Repeat listens didn’t offer as much as I tried to get more in depth but got stopped by a wall of shallow mediocrity.
If “More Life” was a pool, I would have broken both my legs trying to jump in. This is fine because at face-value there are a lot of rhythmic-bangers on here.
This release incorporates parts from Drake’s past works, while borrowing styles from other artist.
The Canadian artist talks about the same thing he has for the last three projects: bragging, about how he’s that guy, generic relationship problems and Meek Mill sneak disses.
Playing this invokes the feeling of someone lost in the woods seeing their shoeprint stepped over many times. They think about familiar ground that’s becoming very tiresome.
His best songs are they talk about something very personal and you feel his energy come through the speakers. Here, it’s like he’s mailing in a third of the tracks, while giving his all in others. Drake has experimented with beat changes mid-song; this time around, it’s transitions. Each song leads to the next so well, it makes time pass by on this 22 tracks.
Fans thought Drake’s previous album, “Views,” was going to be amazing. Many were disappointed, so this is him enlisting the best featured artists he has who are not named, such as Rihanna, in an effort to regain interest.
Standouts here include “Gyalchester,” “Ice Melts” with Young Thug, “Portland” featuring Quavo and Travis Scott, and “Fake Love.”
Quavo typically says nonsensical verses, but here, it makes sense and it’s easy to overlook some head-scratching lines because of his impeccable flow.
“Michael Jordan with the tennis shoes,” is confusing, but I guess adding a “skrrt skrrt” line after turns any questionable lyric into fire.
This is Drake’s first project where the features are notable and outshine him numerous times.
Young Thug has the best verse on the entire project. Yes, April Fool’s Day is in a couple days but this is no joke.
Instead of the high-pitched mumble rap he usually does, Thug is more reserved, telling a story and spitting bars that might go over your head.
“I’ma use ya name like, ‘who is he?’ You get it? I’ma username like, ‘who is he?’
Then there are tracks where Drake puts on his Fetty Wap dread extensions and Rastafarian cap for the dancehall tracks.
They’re good but not “Controlla” great and don’t make me put that extra oomph in my dance like his past island-winspired music.
Maybe they need more Caribbean air horns or random explosion effects, because they are missing that special something that take it to the next level.
Most of the beats are simplistic, which is in contrast to the over-produced sound Drake’s previous album had.
This simplistic take hurts the slow jams as he also decides to do basic rhyme structures. This makes songs such as “Since Way Back” make me want to hit the skip button faster than a Mayweather right hook.
“More Life” does well at being a good and diverse playlist as it has various vibes that still fit under the overall tone.
Great Features, decent production, these are songs for every occasion; even though a third of them just feel uninspired like Drake is running through the motions.
Damian Gordon is a staff writer. His column, Male Mail, is a commentary on current media and social trends.
Image retrieved from Flickr.
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