There is no uncomplicated forward motion in Drake songs usually one small element worms forward while everything sits around it, a haze of rhythmic and harmonic indecision. Song-to-song transitions, which have always been melty and blurry, are more notional than ever. "Wu-Tang Forever" is a sunken glimmer of piano with a tiny tag of RZA's voice, screaming "It's Yourz," before shading, at some point, into "Own It". Nothing Was the Same is Drake and 40's most audacious experiment yet in how far inward they can push their sound a lot of the album sounds like a black hole of all 40's previous productions being sucked into the center. His sound was set apart more by what wasn't there- snare claps, hi-hats- then what was. His albums draw strength from their insularity when everyone outside them in mainstream rap was piling on epic minor-key horns and turning their songs into armored tanks, Drake drew the curtains. That's okay: Loneliness, self-afflicted or otherwise, has always been Drake's most reliable fuel. He might like who he's become, but you can hear he doesn't expect anyone else to. On "Paris Morton Music", he relishes the thought of showing up at his high school reunion, watching everyone "go through security clearance," and on "Too Much", he airs out his family: "Money got my family going backwards/ No dinners, no holidays, no nothing," he laments, before going in on his uncle, his cousins, and even his mother: "I hate the fact that my mom cooped up in the apartment, telling herself that she's too sick to get dressed up and go do shit like that's true shit." Drake recently performed this song on Jimmy Fallon, apologizing briefly to his family before tearing into it. The album title, in context, reads like a self-fulfilling prophecy viewed from the rear view, an acknowledgment that he's cutting final ties, torching the last bridges.
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Drake has been talking to old flames who have no equivalent soap box to climb on to talk back since before "CeCe's Interlude", of course, but as he's gotten more famous, they've grown more malicious, and here they feel like a series of emotional drone strikes. It's the meanest-sounding thing Drake has rapped over, and he matches it with some of his angriest lyrics, a series of sputtered "muhfuckas never loved us" surrounding an extended riff on Ma$e's verse on "Mo Money Mo Problems".Īs Drake albums go, this is the Drakiest: Except for Jay Z, who shows up at the end of the album, Nothing Was the Same is an entirely solo affair, and all of Drake's tendencies are dialed up. Even for a rapper known for sniping at non-famous girlfriends on record, he's breathtakingly petty here: The album is four days old on the internet, and already his line "The one that I needed was Courtney from Hooters on Peachtree/ I've always been feeling like she was the piece to complete me" from "From Time" is infamous, a reference so specific that the actual Courtney has had to put a padlock on her social-media life. "I'm on my worst behavior," he leers, over a glowering low-end synth and an insectile battery of defaced-sounding percussion, courtesy of DJ Dahi. On Nothing Was the Same, he acts accordingly- the mansion doors swing shut behind you and he mostly stops pretending to be nice. Kanye has, for the moment, stepped out of the pop-radio wars, which means that Drake currently has no meaningful competition.
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Aubrey Graham's gone from an unlikely rapper to an accepted rapper to maybe the biggest rapper out, all in four years, and he's the genre's biggest current pop crossover star. The Drake Era has ended welcome to the Drake Regime.