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About Me:18-year-old sixth form student, studying English Literature, History and Government and Politics. My articles will broadly cover topics from the current affairs of politics to reviews of books and albums, as well as adding my own creative pieces, whether it be short fiction or general opinion.
Comme des Garcons
This is a brilliantly written song that displays the art of double entendre. From the lines “kept it faded on the side” (a reference to Ocean’s transitory lover’s hair cut as well as the treatment of their relationship and inebriation) followed by “he was seeing double” (conveying the fact that this lover is seeing someone else but is also under the influence of alcohol or drugs) even the sexually overt “all this drillin’ got the dick feeling like a power tool” (not only a reference to the effect of frequent intercourse, but also the subsequent inflated ego as a result of such frequency). The title’s translation, shares no duality – it follows Frank’s reoccurring theme of open homosexuality: “Like boys”. The song is the mot upbeat of the album yet but is, like many of Ocean’s songs now, split into two parts. After about a minute the song descends into a velvety melancholia and echoes out into the next interlude.
Ambience 002: Honeybaby
Another very short interlude featuring a sample of a woman crying “I need a honeybaby, woohoo!”, thus segueing into the next track.
This track, in its unpolished minimalism is similar to that of the track Good Guy off of Blonde. It feels sensual and intimate with Frank’s passionate delivery, coupled with airy backing vocals, over the top of guitar chords.
A peculiar song both in its brevity and odd twinkling instrumentation. Lovely addition nonetheless.
In Here Somewhere
Another odd and spacious track, again split into differing parts. It begins rather obtrusively (“I know you’re in here somewhere”), but, after a vocal sample, smoothes out into a piece of introverted psychedelia. Ocean’s vocals, whilst still remaining their narcotic charm, sound like they’re from the bottom of the sea agonisingly trying to reach the surface.
Slide on Me
This is the track that seems that it would fit the most seamlessly on Blonde. It is fully fleshed out, rather than dissected into differing parts, and follows a dreary-yet-catchy melody line. The end of the track – a secluded explosion of lush synths – lays the foundation for the subsequent song.
Accompanied by a synth chord that oscillates between being pitched up and down, Frank’s vocals reveal a more brash quality. It is clear that in both Endless and Blonde, Ocean has concocted a brilliant in-between of sedated singing and rhythmic flow. It could be argued that this is a by-product of the popularity of the likes of Drake, but Frank delivers it with so much more style, nuance and feeling that makes its predecessor sound cold and banal.
Channeling elements of soulful gospel – this does, indeed, sound like a deeply religious experience – with the interweaving of all of Frank’s different harmonies undulating back and forth to allow a crescendo of emotion. The subsequent foregrounded vocals have a lovely call and response type of quality to them. Florida is a song that, like many of the songs on this album, show just how astute Ocean is not only as a vocalist but also as a self-sufficient producer. This is a lovely somewhat disregarded track.
Image Credits: CNET