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Transitioning into a full-blown singles or EP artist would allow Drake to keep his finger on the pulse of hip-hop and respond to its changes in a more timely fashion, as well as afford him the opportunity to pursue TV and film concurrently. It’s what allows him to release an objectively average track like “God’s Plan” out of nowhere and rack up nearly 200 million streams in just three weeks. Luckily, he’s one of the few artists alive who can make the world stop spinning whenever he drops a new song.
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But if he truly does plan to pursue other creative avenues while still making music, then it simply doesn’t make sense for him to work on a full-length album for a year or two at a time. It shouldn’t have been too difficult to call Drake’s bluff on that one he loves being at the epicenter of the rap game at all times. It also doesn’t gel with Drake’s own plans to "take six months or a year to myself and do some great films,” as he told The Hollywood Reporterback in November. But Drake’s old release method - dropping a laborious “statement album” that becomes the definitive project of the next year-and-a-half - doesn’t gel with the current state of hip-hop, in which artists can record and release their own tracks within days and bypass the industry’s gatekeepers. Meanwhile, a new wave of SoundCloud rappers - such as Lil Pump and XXXTentacion, the latter of whom accused Drake of jacking his flow - transformed into bonafide mainstream stars with their combination of rumbling, lo-fi trap beats, outsize braggadocio and streaks of punkish nihilism.Ĭertainly, Drake is aware of these changes - he’s nothing if not observant - and is eager to release new music, hence the Scary Hours EP. One month after More Life dropped, Kendrick Lamar scored the best debut sales week of 2017 for a rap album with DAMN., whose lean, politically charged virtuosity stood in stark contrast to Drake’s recent navel-gazing. It was a smart move from an artist who constantly craves the spotlight, but might have been second-guessing his next career move.īut as Drake contented himself to basically release a playlist of extremely high-quality background music, other rappers were reworking the genre yet again. “It’s not an album but it is a body of work I’m creating, just to bridge the gap between my major releases, to keep people excited,” the rapper explained last year. But its marketing and classification also hinted at the rapper’s reluctance to release another full-fledged album. More Life predictably debuted atop the Billboard 200, proving that Drake’s commercial clout had suffered little for his Views gaffe. On More Life, Drake seemed eager to take cues from the U.K.’s underground hip-hop scene, rather reshape the genre at his whim. But unlike Views, it wisely incorporated dancehall, grime, tropical house and trap influences to make for a more engaging, albeit still unchallenging, listen.
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Like its predecessor, More Life clocked in at a punishing 81 minutes. In the fallout from Views, Drake did what any smart pop star does: He released a quick flurry of singles followed by a new full-length “playlist” (seriously, what is it with this guy and mislabeling his releases?) More Life in March 2017.