Canadian recording artist Drake is talented as ever, but seemingly taking his music away from listener inspiration to self- appraisal.

Canadian recording artist Drake is talented as ever, but seemingly taking his music away from listener inspiration to self- appraisal.

By Cory Serfoss
Staff Reporter

What have you been listening to lately?

There’s a decent chance that it’s been something involving a certain someone from Canada who has been taking the world by storm,  sweeping not only the charts but also the most prestigious music award shows.

In case you haven’t guessed by now, this certain someone is Drake, an artist fresh off of his critically acclaimed album, “Nothing Was the Same” which dropped Sept. 24.

His latest album includes hits such as “Hold On We’re Going Home,” a track sitting near or at the top of various Billboard charts in six categories.

Drake—–whose birth name is Aubrey Graham—–had his humble beginnings as the character Jimmy from the popular teenage soap opera “Degrassi: The Next Generation,” a show that probably made your high school drama feel like the time someone sat in your favorite seat in class.

Following his Grammy win earlier this year for the “Best Rap Album” category, Drake’s new “Started From the Bottom” motto, seems to fit just right as his long-awaited third studio album seems to have catapulted his already peaking stardom to reach a newly realized apex.

The album assuredly contains the glitz and glamour typical of a Drake record as well as the infamous Jay-Z  “swag” that he always brings to every song, illustrated as he steals the show for the highlight track, “Pound Cake.”

While the “Toronto-crooner” does in fact show glimpses of genius on this new album, it still seems to fall short of the magic of his sophomore album, “Take Care.”

What begins as a smooth ride with songs such as “Tuscan Leather” and “Furthest Thing” seems to take a wrong turn by the time it hits the poorly named “Wu-Tang Forever.”

At this point, he seems to hit a creative rut in which he loses touch with the listener, as all he seems to talk about is what it’s like on top.

While you may still be able to find glimpses of the “old Drake” with particularly introspective tracks about his relationship problems—–ones that we always feel that we can relate to—–even in these songs one can find Drake hitting a writer’s block.

He states in one song, “She just wanna run over my feelin’s/Likes she drinkin’ and drivin’ in an 18-wheeler/And I’d allow her,” which leaves the common listener as bewildered as when they first saw Miley Cyrus swinging naked on a wrecking ball for an entire music video.

Yes, “Nothing Was the Same” was a great album in its own right, but perhaps the reflective “Started From the Bottom” got slightly too personal—–in a way, moments like these cause Drake to become much harder to identify with.

With braggadocio rhymes like “rich enough that I don’t even have to tell ’em that I’m rich” stroking his massive confidence with each and every word, I wouldn’t be surprised if one felt as though he’s lost his touch.

Unfortunately, Drake’s mission  and creative vision seems no longer seems to be about uplifting the listener as a musical masseuse, but instead to be the deliverer of a narcissistic album for the appraisal of himself.


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