Drake Delivers 'VIEWS' From On High w/ Stream Of New LP

Drake delivers his new album Views right on schedule, raining joints down on the masses like he was throwing CDs off the lookout balcony of 360, the restaurant atop Toronto's CN tower which is pictured in the album's cover art. Fun fact: I've been to that restaurant once myself--with Drake. The year was 2009 and we were there with his OVO crew (Olivier, T-Rex and Foots) and photographer Jonathan Mannion during a photo shoot for his very first magazine cover. I am tempted to think the title and theme of this new record are referencing that pivotal moment in his transformation from talented Young Money entourage member into global megastar and one-man industry. Maybe it's for that reason that in my initial listen through of the album my ears prick up at multiple audio textures that seem to suggest the dramatic melodies of mid-2000s dancehall and r&b, including the interpolation of Mavado's "Dyin'" on the very first track, the word "dyin'" screwed and auto-crooned until it sounds like the "9" of the track title. The Rihanna feature "Too Good" equally sports a sort of moody ragga soca riddim that sounds like it could have been built by De Tropix or Bruk Up circa Spring 2009.

But that's probably just me, because though the album's tempo and vibe feel coherent on first impressions it has a pleasing variety of texturesand comes off as thoroughly up to the time. That's a reflection of the albums very crew-centric roster of productions and cameos including guest spots from Popcaan, PARTYNEXTDOOR, DVSN, Pimp C (in spiritual essence), Wizkid and Future and production credits from Kanye West, Jordan Ullman of Majid Jordan, Murda Beatz, nineteen85, Southside, Cardo, Sven Thomas, Frank Dukes, Allen Ritter, Daxz, Young Exclusive and Maneesh. Those are all just add-ons to the true sonic architects of this statement; Noah "40" Shebib and Boi-1da (and mostly 40). Drake even prefaced the album stream with a love letter-ish instagram shout to 40 (read below). Even that, however, takes me back to those first studio sessions that put Drizzy on the map and reinforces my belief that not only are the album cuts here a departure from the Future/Fetty/D.R.A.M.-appropriating sound that's characterized the leaks so far, in favor of a more individual sound...but that the album's heart lies in giving his fans a window into that moment when the world opened up before the not-quite-made-man that day back in 2009.

>>>Stream VIEWS Here (via Apple Music)