With TakeCare, Drake knew he was crafting a record that could impale you, soundtrack your parties and weekends and hangovers, crash into you at the club, and comfort you in the haze of the cab ride home
. There are brassy rap bangers here — “Headlines,” “Make Me Proud,” “HYFR” — but there’s also a stretch of slower songs in the album’s final third that showcases Drake’s singing. Nothing was mutually exclusive in Drake’s world: He could be bracing and brazen and broken, crooning and spitting, drenched in gold on the cover of his album but wallowing in his head, drinking to his accomplishments and wailing about how they would never be enough.
The production on the album fueled these contradictions; the glimmering beats and smeared synths imbued a sense of tragedy that underpinned even the more buoyant tracks, like “We’ll Be Fine” and “Under Ground Kings.” Drake could sound exhausted by his nascent fame even as he was bragging about it, and the sludgy pulse of drums and lush, dark beats seemed like clues, foreshadowing the sadness he conveys.
There’s so much ache slipped into these songs, braided in and bristling. Drake will never be a paradigm of subverting misogyny, but his songs did challenge ideas about masculinity. “I’m hearing all of the jokes, I know that they trying to push me / I know that showing emotion don't ever mean I'm a pussy,” he raps on “
.” At his best, Drake unspools his stream of consciousness. He focuses on the intricacy of his intimacy. Only in the mercurial, mesmerizing soundscape ofcan a song like “Marvins Room” creep in and stun you — the tactile weight of Drake’s vulnerability, the sting in his voice. He sounds sick of himself. He stares straight at you.
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