TRACK-BY-TRACK: II

PHOTO: NOA GRIFFEL

Frank Ocean is the soul connection in California's OFWGKTA collective. At 23, the guy has self-released a solid gold debut of top class r'n'b. The album is made of original numbers interspersed with a couple original adaptions of well-known tunes. What draws most with this record though is Ocean's lyrical prowess, delivered by his beautifully affective (affected?) voice. It is these words, his stories that have pushed me to take a closer look. The stories, and the fact that I have been incapable of listening to anything but this record for the past 3 weeks...

'strawberry swing' – As the song builds, so do the images in my head. Driving in the springtime, looking out as the trees blur into one another. It's all green. And I'm in an orange car, like the one on the cover. Feels like I'm leaving somewhere, but this is the opener. Leaving to head somewhere. Yet I can't see the ride slowing down any time soon.

'novacane' – And so his ability to draw up story boards before your eyes continues. Boy meets porn star (but with a “brain like Berkley”, mind). Porn star gets boy high. Boy fucks porn star. Attention's drawn to the boy's need to “numb the pain”, his inability to feel anything. Beautifully simple, yet beneath lurks something more sinister. (*Kubrick ref #1: “I'm feeling like / Stanley Kubrick... this is some visionary shit / Been tryin'a feel pleasure with my eyes wide shut”)

'we all try' – This plea-like track opens with a touchy issue: “I believe a woman's temple gives her the right to choose/ But baby don't abort”. This theme of pregnancies, mistakes, baby-daddies, is somewhat recurring. An insight into the guy's understanding?

'songs for women' – How nerdy a seductive crooner can be... Once you got the girl, how the hell are you supposed to keep her? I mean, if I was the chick in this particular story, I wouldn't be running off with no other boys. Dumb bitch.

'lovecrimes' – Rolling rhythm, set to the backdrop of a pissed-off Nicole Kidman straight outta Kubrick's “Eyes Wide Shut”. Why all the Stanley? I dunno, maybe Ocean too, is prone to the obsessive three week binge. The result? Dark and moody, black and broody. (*baby ref #2: “Is it really wrong that I wanna be the baby-daddy?”)

'there will be tears' – While Mr. Hudson's irritatingly monotonous voice proves somewhat uncommunicative, Ocean makes for a swift save. To the sound of clocks winding back, the heartfelt confession of a fatherless son unravels. “My friend said it wasn't so bad, you can't miss something you never had / Well I do, I'm sad.”

'swim good' – The hook sinks in deep, instantly caught. Images of a smartly dressed Romeo, à la Baz Lurhman. Romeo cruising, cruising into the ocean. Hearts keep bleeding, things turn black, breath turns cold. Smoothly, softly, pleasant and peaceful.

'dust' – The tortured (song)writer returns. An issue of intimacy comes to light. To what extent should one allow oneself to be an open book? Risk taking... all that jazz. It's rubbish but it has to be said; sometimes keeping one's thoughts to oneself is best. (Yeah, I use the term 'one'. No, I am not the Queen.)

'american wedding' – A truly innovative example of “music recycling”. While the original 'Hotel California' wove a sinister tale, Ocean's take on l-o-v-e in the US presents a much sadder story. Like a well scripted play, perfectly executed.

'nature feels' – Another example of how Frank Ocean makes songs better than the originals he's lifted the samples from. This one's all about the wonders of fucking in the great outdoors. Mmm, feel that? Yeah, fresh grass. Soil. Soiled. Mother nature sure knows how to set the mood. Frank's just gotta say the words.

Nostalgia, ultra comes off like a portfolio; carefully constructed in its messiness. The odd bit-link pours light on the seams, an insight into the composer's mind. A mind so tortured and romantic it's really very hard not to be drawn in, sucked in, drained.