The amalgamated powers of music’s own proclaimed stars are often a call for immediate crossover appeal, and subsequently mainstream success. When made somewhat of a public spectacle through continuation, the act becomes an almost routine and mutual means of catapulting the potential for success. So what happens when the single most marketable and mainstream prolific figure of a generation, seen in vocalist Drake is paired with the cartoonish quirk of outlandish media sustained icon DJ Khaled? The answer, unfortunately, is a rather foreboding and predictable pair of derivative, half baked cuts that spiral into the preeminent pantheon of success based on name recognition and blunt star power. What would perhaps be unfamiliar origins for the emerging stars of today, comes as second nature to the aforementioned moguls. No strangers to the reconstruction and progression of careers based upon a loathsome appreciation for brand recognition, Drake and Khaled actively pursue their next monumental endeavour on latest tracks ‘POPSTAR’ and ‘GREECE’.
Of the two, the more refined and akin to the ever prevalent limitations of Drake is the braggadocious, lavish anthem ‘POPSTAR’. The high-flying recount of Drake’s materialistic lust and luxurious living habits are all too familiar within the canonical repertoire of the singer’s back catalog. Boasting a far more tasteful and tame existence in regards to lyrical substance and presentation than previous ventures of flaunting tyrannical success and positional power, the track gains momentum from pre-established cuts, putting Drake into a methodical place of comfort. The emphasis on recycled and overly saturated material effectively enables the grueling process that allows Drake to nestle into his now droning and unambitious performance arc. This sentiment becomes an abhorrent realisation on the chorus of the track, as Drake adopts a painstakingly squeaky, yet comatose blemished trance. The lulled, monotone performance feels dated and stands tall among a thriving abyss of equally deprived and lackluster approaches from the monolith. Things take a change for the best throughout the verses, as Drake snaps into a measured, yet vivacious energy that seemingly dispels a long-running string of prolonged hibernation. Accompanied by glaring, eerie synths, when placed into an impassioned momentum the track adopts intermittent moments of moody, impending threat, a style long forgotten by recent accounts of greed and ambition from the songster.
The effective sister track ‘GREECE’ fails to gloss over so smoothly, as the usual ambiguity of Drake’s vocals is driven to a misconceived point of deranged derivative nature. Stuck in an upper register, Drake’s cloudy, lulled, and poorly annunciated performance stands tall as a truly woeful and corny performance. This unflattering nature is further enunciated when delving into the blatant derivative roots present. The unapologetic attempt to capture The Weeknd’s synonymous sound is truly one that buries any and all hope for an already monotone and lifeless performance. All the aforementioned culminated failures are simply amplified by the amateurish and unpolished mixing that stains the track. A hazy static looms over the vocal layers, evoking a perpetual disconnect between performer and production. Towards the back end of the track, upon welcoming the transitional overhaul Drake comes into his own, with endearing and sweet-toned passages. Playing to his strengths, and more importantly, a shtick of his own, the subtle drowsiness seemingly revisits and immortalises the Drake of old. Casting demands attainable within the realm of Drake, the short-lived vocal pleasantries provide some level of relief among an abyss of cheap imitation.
Production-wise, ‘GREECE’ relies on cheap charades and gimmicks to camouflage it’s innate sparse and vapid nature. In doing so, the attempted pampering instead becomes padding, as production elements are beaten into repetitive submission. Glistening, warped synths usher the track into motion, accompanied by a luxurious and illustrious dominant strain that soars above. Whilst initially a daunting and eerie atmosphere, an emphasis on subverting and resisting evolution and instrumental progression leads to an overwhelmingly one dimensional and tedious expression. Tropes are beaten into the ground as the sheer one dimensional and stale nature of the sources fail to sustain consistent stylised substance. This is accentuated by the increasing irritant of the pitchy, nasally synth that seemingly intentionally brings an obnoxious flair to the track. The back end of the track attempts to welcome the desperately needed change that revitalises and injects life into the production. Ushered in by enthralling hazy synths that dart around with grimace intent, audiences are sold a dream and a lie. Once dissipated, the forlorn reality sets in as the track reverts back to the unpalatable, obnoxious synth refrain that bleeds with abhorrent intent.
More baffling than any of the tangible constituents of the tracks themselves are it’s representatives. Put bluntly, the bewildering case of inclusion and recognised credit that remains granted to DJ Khaled. Recognised as a producer in only one of the songs, and with past endeavours revealing his reluctance to actually produce, one simply must question his role or input into the releases. The undeserving and unattained attention upon speculation feels like a marketing gimmick to simply bolster the stakes within the mainstream. Whilst Khaled himself earns kudos for minimising his obnoxious vocal refrains, his very association is one that reeks of desperation and media manipulation.
Irrespective of how successfully crafted or ill-advised each respective, and inevitable release Drake flaunts, one must admire the implied ambitious roots present on latest tracks ‘POPSTAR’ and ‘GREECE’. Whilst posed as nothing groundbreaking, Drake strives to incorporate vocal elements perhaps foreign to his back catalogue. With that being said, there is an instinctive art and distinction that comes with applying revised or evolutionary elements that break the present appreciative theory and evoke the underwhelming practice. Especially on ‘GREECE’ Drake truly comes off as a hollow, regurgitative shell of derivative ideas that lacks a consistent gusto and flair of direction. For the most part, however, the double-track release certifies Drake’s implied continuation of moody, somewhat introspectively reflective commentary, and further leads an age of old question as to what DJ Khaled brings to the music ecosystem.
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