Where is Frank Ocean? That’s the question we’ve been asking ourselves for the past three years. Frank released his mixtape “Nostalgia, Ultra” in 2011 and his album “Channel Orange” in 2012. He made few appearances and features over the next few years, turning his back to the music world and the public eye. After teasing his album, called “Boys Don’t Cry,” in July 2015, he seemed to have vanished, leaving us in constant speculation on his whereabouts and the status of his album. Finally, after four long years, vague hints, a strange live broadcast on his website and countless memes, Frank Ocean is back. “Blonde” was released Saturday, and after having it on repeat over the past five days, I’m ready to review it.
The album starts off with a cool melody on “Nikes” that leads into the first vocals, which are high-pitched, taking you by surprise. The first verse is sung in an altered voice before the vocals shift to Frank’s normal voice. The hook and the first verse are about materialistic items, such as Nike shoes and rings, whereas the second verse is Frank speaking on more emotional and personal levels. Paired with the stunning visuals for the music video, “Nikes” is a moving song that starts off “Blonde” and sets the tone for the rest of the album.
“Nikes” goes into “Ivy,” which features production from Jamie xx, and it wastes no time, beginning with the chorus right off the bat. Frank details when a past lover, who was a friend of his, tells him unexpectedly that he’s in love with him, leaving Frank unsure how to react. While the relationship didn’t work out, Frank feels that it wasn’t a waste of time. Frank Ocean has a special way of sharing his emotions and feelings through his songs and bringing out those same emotions and feelings in ourselves in ways we didn’t know possible.
“Pink + White” follows and is a little more upbeat than the first two records. At first listen, you can easily hear production from Tyler, The Creator, who helped in the making of this track along with Pharrell Williams. “Pink + White” follows the central theme of “Blonde:” past lovers and drug usage. Beyoncé, who Frank Ocean has worked with before, has uncredited vocals on the outro of this song as well. Who doesn’t love a feature from Queen Bey?
After a short skit that is a voicemail from Frank’s mom about staying away from marijuana and alcohol, “Blonde” continues with “Solo.” Frank spits a verse over a simple, mellow instrumental. Frank’s ability to rap and contribute his own high-note background vocals is a reminder of how extremely talented he is, as if we ever needed a reminder. “Skyline To” is the next song, which, despite being three minutes long, serves as a sort of interlude for the album. Listen closely enough and you’ll catch Kendrick Lamar throughout the song, although he only contributes one or two words at a time in-between Frank’s lines.
Perhaps my favorite track on “Blonde” comes next with “Self Control.” The song’s chorus features 18 year-old Austin Feinstein of the California indie-rock band Slow Hollows, as well as Yung Lean, a 20-year-old Swedish rapper, who is the album’s most unique feature, in my opinion. “Self Control” is a heartfelt track where Frank addresses bad timing in relationships, in which he wants to be with a past lover who he is unable to be with at the moment. The song is Frank Ocean in his most vulnerable state; you can hear the heartache in his raw singing.
“Nights” is one of the cooler tracks on the album; it has two parts but a few different beat switches within those parts, making it feel like multiple songs in one. Part I has a rap-singing mixed verse before the pre-hook that adds some percussion, which helps transition the song into more of an R&B record. Part II has more of a laid-back, hip-hop beat as Frank Ocean tells us how he fell in love with someone in Houston after he and his family were evacuated from New Orleans following Hurricane Katrina. He ends the song with the same hook from Part I but performed differently.
Andre 3000 makes an appearance on a track of his own on “Solo (Reprise).” This song shifts the mood on “Blonde” for the moment as Andre casually comes out of retirement to give his thoughts on a number of issues, from police killings of innocent African-American citizens to the use of ghostwriters in today’s hip-hop.
Following another interlude, “Blonde” continues with a very unique song in “Pretty Sweet.” Frank Ocean lays down a verse over a frantic instrumental as a choir provides additional vocals. Just like Frank Ocean himself, the song is random, unpredictable and insanely brilliant.
“White Ferrari” might be the most beautiful song on “Blonde,” with writing credits given to Paul McCartney and John Lennon (for the use of “Here, There and Everywhere” as a sample), Bon Iver and James Blake. The symbolism of a white Ferrari could represent either drugs (cocaine) or innocence/purity. Frank sings from the point of view of his 16-year-old self to someone he loved at the time.
First performed during a tour stop in Munich, Germany, in 2013, “Siegfried” begins the homestretch of the album and is a sad, slow song where Frank discusses a breakup. The song is simply poetic, and the delivery is flawless.
In the Boys Don’t Cry magazine that was released in conjunction with “Blonde,” Frank Ocean describes “Godspeed” as a short story he wrote where he reimagines his boyhood. Frank again speaks to his former self, who struggled as a young, closeted gay man constantly on the move, trying to figure out his purpose in life. He wishes those going through similar instances in their lives “Godspeed” in the years to come.
The last song on the album is “Futura Free,” which might be my favorite song along with “Self Control.” A piano riff accompanied by a soft bass line begins the end of the album. While different than the voice on “Nikes,” Frank Ocean’s voice is once again altered — ending the album similar to the way it began. Throughout the song, Frank addresses several different topics, such as religion, fame and sexuality. The third verse is comprised of short liners over strung-out piano chords until a dope beat drop that continues, until a silent interlude before a pre-recorded interview with his brother ends the album.
Frank Ocean essentially disappeared for more than three years without a trace of when he’d return. He had a master plan to share his masterpiece with the world, and while it may have taken longer than we had hoped, he came through.
I absolutely loved “Blonde” from start to finish. The instrumentals are refreshing; Frank’s voice is soothing, the sampling and sneaky features are creative and the songs are meaningful and well put together. As of now, “Blonde” is a frontrunner for album of the year.
