Thursday, January 9th, 2020

Drake – War

What’s it good for?


Alfred Soto: As impenetrable and self-referential as “Glass Onion” — unless you’re part of the cult. His solid flow awakens the alliterative possibilities of a couple rhymes. 

Brad Shoup: Has all the breathless pace and grim duty of a previously-on segment from a late-ass season of Supernatural. You can practically hear the jokes hit the floor, though that may be a byproduct of AXL’s squelchy, subdued drum programming. I can’t wait for the post-Uncut Gems narrative wave.

Ryo Miyauchi: The faint, somber beat deserved to go to a better rapper who can tap into its melancholy and extract something genuinely personal from it. Drake’s take on so-called friendship and fallen ties feels as surface as the success in which he apes the trans-Atlantic flow. When he names names, they ring so hollow like he’s reading a grocery list; when he doesn’t, it’s about some old beef worth no one’s time but his.

Will Adams: So I guess that rumored collaboration between Drake and Taylor Swift was just a pact to separately release singles in which they each adopt a bizarre faux-British accent in a boring song?

Joshua Minsoo Kim: One of the takeaways here should be that, yes, UK drill rappers should start utilizing more flows. But really, “War” is mostly damning for Drake: he makes everything so sleepy, failing to provide the mystique and bottled-up energy of a Headie One or LD.

Will Rivitz: UK drill and the U is for “unplugged.”

Thomas Inskeep: I like the understated track, but wish it had more atop it than a seemingly random Drake freestyle. What’s the point?

Oliver Maier: A compelling contrast between the morose, foggy beat and the aggressive flows — this could slap and actively chooses not to, to its benefit — but unfortunately Drake’s British accent gives me hives. Please let someone else have this terrific instrumental.

Katherine St Asaph: The aspirational role model for a certain swath of extremely online listeners becoming less known lately for music than for chasing 17-year-olds is the opposite of surprising. His releasing a UK drill replica is also thoroughly unsurprising, given that he’s the Bruno Mars of international rap, except self-serious. His calling that track “War” is thus also unsurprising (and unfortunately timed). The track ending up this dreary? At some point in the past few years, that became surprising again.

Nortey Dowuona: Drake is a predator. That doesn’t mean he can’t make good songs, R Kelly made his best music when it looked like he was actually going to be held accountable. Unfortunately, Drake isn’t going to be held accountable until too many little girls are hurt, and they’ll probably be “bad gyals”. And since Drake is skidding away scotch-free so far, he’s making a dull version of Santan Dave and embarrassing his son and every one who’s involved in listening to all of his soft (emotionally manipulative, according to Meaghan Garvey) songs he made when he was still having to be nice. Fuck Drake and fuck everybody who still loves him. If this wasn’t in the blurber I would have never have listened to this song, and hopefully this is the last time we here at the Singles Jukebox will ever have to write about him that doesn’t have to do with the cult of celebrity enabling abuse (again.)

Ashley Bardhan: Thanks, Drake!

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