‘Views’ Finds Drake Taking an Introspective and Ambitious Approach to His Sound

Matt Matasci

Is it possible for an album to be simultaneously restrained and overambitious? After all, the two terms are generally considered to be situated at diametrically opposed ends of the creative spectrum. However, Toronto-born rap superstar Drake has managed to create an album that sprawls to massively ambitious proportions but on an individual, song-by-song basis, is understated. “Views” carries the simultaneous burden and blessing of being one of the year’s most anticipated hip-hop/R&B albums. While the 20-track, 70-minute fourth studio album from the Canadian rapper mostly hits the mark, it does not fully capitalize on the hype that built up prior to its release.

The lyrical themes of “Views” are markedly focused on Drake’s damaged or dysfunctional relationships, not a wholly surprising revelation considering the subject matter of his previous single “Hotline Bling.” Released over the summer of 2015, the song detailed in very literal terms the changes Drake observed in his ex. Highlighted by the repetitive sing-along of “Ever since I left the city, you…,” the song was criticized by some as displaying a controlling sentiment and misogynistic attitudes. Anyone who had a problem with “Hotline Bling” will probably find many of the same complaints with “Views.” The first several tracks focus on Drake’s decaying relationships including the ultra ‘80s-influenced “Feel No Ways,” the DMX-sampling on “U With Me?” and the early-album slow-jam “Redemption.”  

There are a few moments on the album that crank up the tempo and take a step away from the post-club vibe like with the off-kilter “Hype,” the Pimp C-featured “Faithful” and the previously-leaked dancehall banger “Controlla.” Generally speaking, “Views” cranks up the tempo as it progresses, starting with its slowest, most introspective cuts and gradually becoming increasingly head bobbing. “Grammys” offers an energetic mid-album peak for “Views” with Future and Drake trading off on braggadocio verses that recall some of Drake’s more club-ready hits like “Started From the Bottom.”

Some rappers prefer to stack their albums full of cameos but as of late Drake has seemed to display a preference for limiting his guest appearances. While “Views” feels as if it is fully a creation of the Toronto-born rapper, the album drags a bit without other influences to break up his sometimes-monotonous flow. In fact, the first seven tracks feature no vocalist other than Drake. Many listeners will be desperate for any change of pace by the time PARTYNEXTDOOR makes his appearance on “With You.” On the converse, it is refreshing that Drake does not feature superfluous guests just to add names to the credit list – when he brings guests onto his tracks, it is for a reason. Future offers some of the most hard-edged moments on “Views” with his verse on “Grammys,” as does the Southern drawl of now-deceased hip-hop icon Pimp C on “Faithful.” Of course, the song most likely to attract radio play for the album is “Too Good,” which features a radio-friendly, shuffling island beat and chorus vocals from Barbadian R&B singer Rihanna.

As a collection “Views” offers much of what fans of the hip-hop star love, albeit with a slightly more introspective bent. The songs on this album are certainly not going to be mixed up with his most well-known club bangers but represent a solid addition to Drake’s storied discography.

“Views” is available from Apple Music April 29.