Done sayin' I'm done playin'


A selection of writings on Drake by me, from recent to past:

 On Nothing Was The Same, for Hazlitt: "So what you’re feeling now—that giddy confidence, that lightness in this beautiful city’s air—means the Screwface Capital era is over. Drake deaded it. Nothing was the same, etc., etc. He took a frustrated city rife with the disjointed identities of a generation of third-culture kids, and gave it something it could hold up as its very own." 

NWTS  review for The Grid : "Fans may have been anticipating catharsis, but Drake’s promo from earlier this year provided an effective précis: from the impetuous brio of “Started From the Bottom” and “5 a.m. in Toronto” to the chillwave-y optimism of “Hold On, We’re Going Home,” Drizzy’s feeling better than ever. Unlike 2011’s conceptually morose Take Care, Drake’s third record is practically perky, more in line with 2010’s
 Thank Me Later." 

Why Drake should win the Polaris Music Prize, fo CBC Music: "Take Care is a beautiful, careful and thoroughly Canadian pop record. It builds on an arc discernible from Drake’s earliest MySpace-released singles, this idea of the hip-hop/R&B auteur." 

On Take Care  for the Toronto Standard : "This resurgent wave of confessional honesty (sonically embodied by the fucking morose, drunk-dialer anthem, "Marvin’s Room”) doesn’t subsume his goofs; rather, it embodies the dichotomy. It’s the source of confusion caused by TML - who is Drake really and what is he trying to say? - and a return to the poise and ambitious authenticity hinted at on Comeback Season."

Sounding off on Drake featuring Rihanna for the Toronto Standard : "In a sense, this is just what blues sounds like in 2011."

How rap ruling the charts is decidedly middle class, for Toronto Life : "Then there he was, on the hip-hop canonVibe: a handsome, mixed-race Degrassi actor–turned-pretty-boy rapper with a Jewish mom and a Forest Hill postal code."

OVO Fest 2011 for  (Now Huffington Post Music Canada): "And then Stevie Wonder, who helped create six songs during the recording sessions for ‘Take Care,’ took the stage, delivering a perfect six-song set with ‘I Wish,’ ‘My Cherie Amour,’ ‘Sir Duke,’ ‘Ribbon in the Sky,’ ‘Signed, Sealed, Delivered’ and ‘Superstition.’ For an audience comprised of teens and 20-somethings, it was a big risk bringing out someone who so solidly represents a different time and era in music, but the timelessness of the songs translated. And this was Drake flexing his muscles in a way no homegrown rapper ever has."


Indian Flute