(Though, let it be said, putting the CN Tower on the cover may be just about as mawkish for Torontonians as a New Yorker wearing an “I Heart New York” shirt.)Īnd so it was something of a surprise to hear that after years of snacking on a wide range of rap sounds, at a time when regionality means less than ever in rap (see the Atlanta-imitating New York rapper at the top of the hip-hop charts), there’s no doubt as to where these Views were from. The fact that Drake would excise From the Six from the end of the album’s title just two days before its release implied that this could have been his least Toronto album yet, even if its cover featured him perched atop of the CN Tower, the Internet’s unmissable meme last week. And his peers, now, are the genre’s biggest stars Kanye West, who lives up the street from him, has called him an inspiration, and he and fellow mega-star Jay Z both appeared on “Pop Style” (before their verses were removed, in one of Drake’s trademark sly power moves). He has always been, after all, something of a regional polyglot he was born in Toronto but grew up steeped in Memphis rap, and broke through while working with New Orleans superstar Lil’ Wayne out of Houston. So you’d be forgiven for thinking that Views was going to take a broader sonic approach, reflecting a more global ambition beyond Toronto. Views.” And he cast that conflict as a distraction from the real work at hand: “I took a break from Views,” he said, wrapping up his final exultant diss track “Back to Back” against Mill-”and now it’s back to that.” Simultaneously, he’s been setting the expectations sky-high for his fourth studio album, Views, the follow-up to his last true album, 2013’s Nothing Was The Same. It’s perhaps hard to remember now, but when Drake starting singing his hook on “R.I.C.O.”-a collaboration with Meek Mill that he didn’t believe Drake promoted enough, prompting the Philadelphia rapper to dig into ghostwriting allegations and spark a headline-grabbing beef-he riddled the beat with a monkish chant: “Views. Heck, Drake even put out a straight-up bachata song, crooning in crisp Spanish alongside Romeo Santos, the king of the sweet Latino genre. label Boy Better Know recently signed October’s Very Own. and The Game, sounding at home on the marauding basslines and taut snares that help define a certain kind of Los Angeles sound there he is on a remix of “Ojuelegba,” a song by Nigerian rapper Wizkid, and there he is shrieking in gleeful patois on “Shutdown,” from grime icon Skepta, whose U.K. There he was, on What A Time To Be Alive, a mixtape so infused with Atlanta rapper Future’s trademark codeine-cyborg purring and a particularly booming production style that Drake sounded more like a boisterous understudy there he was on songs by West Coast rappers like Y.G.
THE CANADIAN PRESS/Cole Burstonĭrake-the so-called Six God, and today’s bottom-starting king of the rap game-has spent the better part of the last two years proving himself to be placeless. West pop up shop where he was handing out T-shirts to promote his album ‘Views’ in Toronto on Sunday, April 24, 2016.
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