Is that meant to be a pun?

[Video][Website]
[7.14]

Anthony Easton: I love hype, the writing, and the group he is part of, and the sadness is all part of why I’m going to back this horse. But his ragged not-quite-croon makes me think he will have a career past all of the other baggage, and I mean what baggage – he writes this fucking masterpiece of overwhelming sadness, and ends with gull sounds. GULL SOUNDS. The song is so amazing that I am willing to overlook a track about oceans that ends with the unforgivable cliché of GULL SOUNDS.
[9]

Hazel Robinson: Gorgeous – neurotic, surprisingly positive, unpredictably clean. Something about the piano hook is ludicrously uplifting, in a song whose video goes for overt Bonnie & Clyde schlock rather than the gentle, ghostly fears of the actual lyrical content. I’m about to drive in the ocean/I’mma try to swim from something bigger than me is presumably not OFWGKTA-standard controversy so I guess you’ve gotta give a dude a sword in the video. Call me gormless but this is about healing, grieving relationships and an urge to run away as far as I can tell. The swim is a ritual cleanse, so tenderly rendered it bears (almost demands) hours of loop-listening.
[9]

Iain Mew: This is exquisitely melancholy. Frank doesn’t wallow in sadness but shoulders it, carries it around, goes alone to the sea not to escape but just to try to find something that can express how overwhelming it is and never quite manages. The detail of the cops that can’t see the broken hearts bleeding over his car is a particularly great image that establishes his isolation and alienation early. It’s fitting that musically there are no big dramas either, everything restrained but dully, quietly oppressive with doomy piano chords poking through the blankness.  
[8]

Alfred Soto: “Dust” and “Nature Feels” are worthy successors to “Novocane”: introspective and lubricious, respectively. Releasing a timekeeping album track as a single exposes its rickety melodic structure most cruelly. The world doesn’t need another Weeknd to ridicule.
[6]

Brad Shoup: Didn’t take long to get the hip-hop counterpart to “What the Water Gave Me,” did it? Ocean threatens to take a remarkable step into the chorus, but the piano wallows and the melody dries out. Great imagery (the bleeding trunk, Ocean auditioning beats on his way out) and a rhythm-battling delivery barely edge out the forced touches (damp handclaps, the word fune-RULL).
[6]

Jonathan Bogart: Less for the yearning indie balladry than for the nods to Nate Dogg in the construction of the verses.
[6]

Katherine St Asaph: Frank Ocean, for all his tidal hype, is still new. Know how I know? “Ever since I lost my baby,” then “you broke my heart.” Swim good, swim poorly, float or sink or drown, just don’t speak the subtext.
[6]