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6 - Tuesday, November 15, 2011

The Michigan Daily - michigandaily.com


Unabashedly Drake

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ake Care' is a ThankMeLater. Now imagine an
album with 13 "Fireworks," and
axing sequel to seven different "Up All Night"s.
After worrying if you have
hank Me Later' the stamina for over 20 Drake
songs, you have just envisioned
By EMMA GASE the basic infrastructure of Take
Daily Music Editor Care.
From the first verse of lead-
re is a reason Pitchfork off track, "Over My Dead Body,"
called Drake "The Boy the tone is set: "I think I killed
Cried Penthouse Suite." everybody in the game last year
unapolo- /... and I thought I found the girl
ly bou- of my dreams in the strip club
he once / Mm mm, fuck it, I was wrong
I his Drake though." Drake's self-aware
off his regrets (however ridiculous to
erry; Take Care us) make him relatable. We see
rom the Young Money ourselves in him, and it's not just
Bloom- because of his hipster glasses
f Canada, and flannel.
e Toronto. He often com- Making good on a Toronto-
about his model/strip- bred, OVOXO bromance, "Crew
rlfriends. Lately, he's had Love" is all Ambien-soaked
chant for benching said ambiance laced with The Week-
g in favor of moody, R&B' nd's eerie, reverb-heavy falsetto.
sams that require actual On "Doing it Wrong," a lone
t listening. His music organ wails as Stevie Wonder
effortlessly fell into his delivers a lengthy (and slightly
the grace of one mixtape, baffling) harmonica solo. "Shot
ayne and adolescent TV For Me" is the mirror image of a
am (R.I.P. Jimmy Brooks). love ballad, as Drake points to all
that's OK. Drake knows the reasons he should be loved.
his detractors say about In an album comprised mostly
He knows "pussy" is his of Singing Drake moments, any-
ommon libel, that harder, time Rapping Drake appears,
stoic (and misogynistic it's usually a statement. "Lord
lgar and armed) rappers Knows" is an exultant victory
p on his effusive delivery cry that proves (at least for five
emingly delicate persona. minutes and nine seconds) he
eing said, Take Care still deserves his spot at the top. The
oing to convince some- gospel choir, Phil Spector wall
'ho already hates Drake to of sound is made possible by a
ider. Just Blaze-produced, absolute
thank Me Later was a monster of a beat. "Underground
ne, then Take Care is Kings" and "We'll Be Fine" both
hole crew sitting on the draw from the same bucket - all
stewing in various level heavy bass and begging for a car
riation after a wild night stereo, they thread the needle
nagine "Fireworks" from between melody and hard(er) rap.

YOUNG MONEY
However, there's no doubt this
is Singing Drake's album. Some-
times, his soul-baring couplets
work: "Girl I can't lie, I miss you
/ You and music were the only
things that I commit to." Other
times, they don't: "May your
neighbors respect you / Trouble
neglect you / Angels protect you
/ And heaven accept you." Um,
OK Rabbi Drizzy.
Take Care waxes on The Good
Life, but it also makes us privy to
it, if only for 80 minutes. There's
no longer such a deep divide
between star and fan - Drake
could be that guy we used to
know, still charmingly startled
by the sheer reach of his suc-
cess. He's confident to the point
of absurdity ("I'm a descendant
of either Marley or Hendrix"),
self-aware to the point of nar-
cissism.
But even with all his confi-
dence, he's questioning where
he's going. On Take Care, he's
made it for now, but he wonders
if he's meant for this kind of life
("What if I don't really do the
numbers they predict?"). At the
heart of it, Drake is just a young
guy trying to figure out what
makes him happy ... and aren't
we all?

By CHLOE STACHIOWAK
Daily Arts Writer
There was a time when Los
Campesinos! was fun - when
its music bounced with peppy
instrumentals
and youth- **'
ful energy. It
seemed like Los
nothing was
off limits to the 1 d
UK band, as it Hello Sadness
used each and
every song as a Arts & Crafts
launching point
into new levels of perkiness.
Guitars played quick flurries
of notes in the highest octaves
available to them. Vocals sound-
ed more like the chirps of car-
toon characters than the voices
of actual people. Lyrics dealt
mainly with topics of dancing
and lust. It wasn't unusual for
songs to break into 30-second
intervals of static and undistin-
guishable noise - hard to listen
to, yes, but infectiously happy all
the same. The band's spirit was
endearing: young, carefree and
maybe a little over-the-top.
Unfortunately for Los
Campesinos! fans, no party can
last forever. The band's new
album, Hello Sadness is fully
deserving of its title, as it's
stripped of the vibrant music
and attitude that characterized
the band in the past.
Simply put, Hello Sadness is
a tease. It offers glimmers of
hope in every track but is quick
to stomp them out, usually with
dull, trudging melodies or lack of
melody altogether. For instance,
"Life is a Long Time" may have
a snappy chorus, but that doesn't
make up for the monotonous
verses that infect it.

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etSo OCRAFTs
Usint only their canning, these Campesinos mast make it back to civilization.

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rming female vocals and lead singer's hunky accent or the
ing bells aren't enough to chorus of high-pitched singers
the monotony in "Songs in the background. The song is
Your Girlfriend." Even lively enough to make even the
t-wrenching "To Tundra" cheesiest lyrics forgivable. Bad
ed by its average sound: rhymes like "We were kissing
like, "We take on the bur- for hours /with her hands in my
all these sad-eyed chil- trousers" and "This is the crux /
With lilies bunched in our she vomits down my rental tux"
ache with passion, but just feel appropriate amid the
e swallowed by the less- joyful music. The track shows
temorable track. Medioc- Los Campesinos! at its best,
n be such a buzzkill. focused and developed while
still being vibrant.
Still, these occasional
moments of enthusiastic genius
aren't enough to save Hello Sad-
and crash. ness from its overwhelming
averageness. What stands out
most about the album is the way
it fails to stand out: It's just as
tot all bad, though - some difficult to identify parts that
like "By Your Hand," are are downright awful as it is to
nt from start to finish. pick out its strengths. The music
ong's energy is immedi- is too predictable and cemented
ddictive, from its opening in convention to make a real
rcade-like keyboard and impact - a surprisingtwist from
hythmic clapping. Vocals a band that once sang about Spi-
the blissful sound fur- der-Man and the erotic nature of
's hard not to smile at the stationary.

St

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RELEASE DATE- Tuesday, November 15, 2011
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
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feature 1(c)2011 Tribune Media Services,Inc. 11/

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