DRAKE “HONESTLY, NEVERMIND” REVIEW

Drake’s seventh official studio album, Honestly, Nevermind, has been released approximately nine months after the release of Certified Lover Boy. Despite the rumors that abound the internet in the weeks leading up to its announcement, Honestly, Nevermind has undoubtedly taken most people by surprise.

Drake’s most recent release is not only a complete shocker coming from one of the most well-known musicians in the world, but it also differs greatly from the depressing and poisonous fusion of Hip-Hop and R&B that he dominated the 2010s with. On his seventh album, October’s Very Own abandons his tried-and-true formula for chart success and dives headfirst into dance music; thus far, his audacious sonic departure has proven to be a risk that was more than worthwhile.

In all honesty, Nevermind is an album that sneaks up on you before quickly drawing you into its universe. However, once you realize you’re in unfamiliar Drizzy terrain, the experience is really pleasurable. The first full song that is heard is “Falling Back,” and even Drake’s dubious vocals can’t compete with the appeal of the captivating production by &ME, Rampa, Beau Nox, and Alex Lustig. After then, Honestly, Nevermind keeps building momentum and producing earworm after earworm.

Drake is known for writing songs that have staying power, from “One Dance” and “Hotline Bling” to “God’s Plan” and “Nice For What,” but even so, the spirit of Honestly, Nevermind is still incredibly contagious. The album isn’t a monotonous effort despite the throbbing, metronome-like pulse that drives the majority of tunes.

The beats are superb, whether they are the bed squeak-filled beat by Gordo and Black Coffee on “Currents,” the glitchy “Sticky” by Gordo and RY X, the soulful, Amapiano-inspired “Overdrive” by Beau Nox, Alex Lustig, 40, and Black Coffee, or the Latin jazz-tinged “Ties That Bind” by Gordo, Vlado, and Ramon Ginton. Since the release of his debut studio album in 2010, Drake has been open about his desire to collaborate with Sade, and now he is finally putting forth songs that might acoustically support such a pairing.

Drake has also changed the way he builds albums in preparation for the first public demonstration of his new sound. Honestly, Nevermind, the Toronto artist’s shortest studio album, clocks in at 52 and a half minutes. Even when all of his mixtapes, compilations, and other side projects are taken into account, however, Honestly, Nevermind still ranks as his second-shortest full-length project to date, just behind 2020’s Dark Lane Demo Tapes.

The slow-burning, bar-heavy beginning that had become a trademark of his discography is also no longer present. In fact, the beginning of Honestly, Nevermind isn’t even a full song. Drake doesn’t make a sound for the entire 36-second vibe check, which was created by Kid Masterpiece.

The absence of guest features is another issue. With the exception of Certified Lover Boy, Drake has typically featured seven guests each studio album, but with Honestly, Nevermind, the Grammy-winning artist is only one track away from pulling off a J. Cole. Drake ends his seventh studio album, Honestly, Nevermind, in a Yeezus-like move by forgoing his new style and rewarding devoted followers with the slick “Jimmy Cooks,” featuring 21 Savage. Honestly, Nevermind feels like the most recent Drake album to be released in a very long time because it lacks more of Drake’s standard album moves, such as placing one of the big singles near the top of the tracklist and ending the album with a grandiose lyrical rampage.

But mistakes are inevitable when taking risks, and Drake is to blame for the biggest one. While his melodies and composition continue to be great, Drizzy’s vocals remain inconsistent throughout Honestly, Nevermind, particularly on “Texts Go Green,” “Ties That Bind,” and the aforementioned “Falling Back.” Thankfully, none of his performances are as flagrant or dissonant as “F*****g Fans” from Certified Lover Boy, and because the melodies are so captivating, fans will probably wind themselves singing over Drake nevertheless.

Another thing to consider is that the production truly carries this song, perhaps even more so than beats are doing for today’s prominent Hip-Hop performers. This isn’t necessarily a compliment or a criticism. With the listener already engaged, Drake is free to experiment as he sees fit, whether that means repeatedly yelling “Your pussy is calling my name/So come on, baby, let’s stop playing games” on “Calling My Name” or going full chopped and screwed on “Liability.” The production is what makes Honestly, Nevermind so captivating, despite some patches of incredibly primitive drum patterns.

In spite of the fact that Honestly, Nevermind is not a hip-hop album as some fans had anticipated, Drake’s brief journey into dance music is a masterpiece in which he channels the energizing creative spirit of his well-regarded side projects and loosies. His seventh studio album is full of captivating songs that get better and better with each listen. It is without a doubt his most fluid and flawless record since Nothing Was The Same.

One thing is certain at this time, but only time will tell if this surprising record has the potential to rise to the top of Drake’s extensive discography. Honestly, Nevermind is neither of those things, and regardless of whether you love it or hate it, Drake’s studio albums have been criticized for sounding uninspired and formulaic for more than half a decade.