“I miss the old Drake” is a phrase commonly uttered by music fans every time Drake releases a new album. His newer projects are always compared to his older work, specifically albums “Take Care” and “Nothing Was The Same,” where listeners fell in love with his emotional lyrics, vulnerability and slower R&B style. In addition to his expected release of “ICEMAN” on May 15, the Toronto-born artist also released “HABIBTI” and “MAID OF HONOUR” after a series of confusing rollout choices. For fans of the once introspective Drake, “HABIBTI” is closest to the version that became so popular, but unfortunately, it also proves Drake may never be able to replicate that sound again, despite his best efforts.
“HABIBTI” is a 12-track album that begins with “Rusty Intro,” in which a conversational Drake is interrupted by random sirens, leaving listeners wondering how this was allowed to be released. The remaining tracks waver in quality: songs with softer delivery and quieter beats, like “White Bone” and “Forthworth,” play to Drake’s strengths and are reminiscent of “Take Care’s” vulnerability. This works best when Drake lets the production and emotion guide the song. Another track, “Classic,” showcases Drake’s strengths: he slows his voice to match the beat of the song, resulting in a more cohesive, softer sound. These “classic Drake” moments feel nostalgic and natural because he isn’t forcing his vocals down the listener’s throat.
However, that restraint is exactly what makes the weaker tracks stand out. When Drake tries to showcase the vocals he doesn’t have, the songs often feel dragged and awkward. Heavy autotune becomes very noticeable and makes the songs even harder to take seriously. “I’m Spent” highlights another glaring issue: Drake goes against what he did in “Classic” and begins to ramble over weaker beats, attempting to deepen his vocals to match the lackluster production with listeners left spent and tired.
Drake himself is tired too, not just of his overprocessed voice, but of his lifestyle. The album dives into themes of insecurity, with Drake focusing on his future. “Gen 5” and “Prioritizing” both feature a more serious Drake who isn’t crudely talking about sex, but instead expresses how he is trying to improve his well-being. This future-focused angle gives the album more depth than expected, and it’s a shame the inconsistent production of the songs lets “HABIBTI” down, just when Drake seems to appear more self-reflective than in his recent projects.
This doesn’t mean all the production was disappointing. Nearly every song includes a complete beat switch, which brings stronger energy and a more introspective tone. It’s no surprise that the first half of “WNBA” is filled with Drake’s current theme throughout his songs — a mountain of incoherent yap — but that leaves room for a more experimental production. By incorporating more reverb and neo-inspired sounds in songs like “High Fives” that create an intimate, hazy atmosphere, Drake creates room to be introspective, reinforcing the mindset of taking his life back into his own hands.
Still, Drake is perpetually stuck in a cycle of trying to balance his past identity with his new persona. In lines like, “Sitting at this table and I don’t belong,” in “Gen 5,” Drake’s attempt at exploring his insecurities falters at surface level: he points at the emotions without unpacking them. The line tries to sound existential but instead comes off like Drake was left out of a group chat. The next line, “You don’t know how hard it is writing songs,” is especially ironic because, judging by some of these lyrics, yes, Drake, we can tell. However, he does show glimpses of his former lyrical sharpness. In “Prioritizing,” Drake explores the impact of a relationship as he sings, “Under her microscope, I befell in silence / What is the reality of moving away,” turning his insecurity and fear into an image to reveal the scrutinizing nature of that relationship.
“HABIBTI” is frustrating because Drake is clearly attempting to reach for the version of himself fans ask for, and at times, he gets surprisingly close. The album’s slower R&B sound, hazy experimentation and reflective themes show that Drake can still be vulnerable and authentic when he stops trying to force his vocals and overcomplicate the production. Yet, Drake’s tendencies to include overprocessed singing and silly songwriting prevent the album from reaching the highs of “Take Care” and “Nothing was the Same.” Even if Drake doesn’t know how to completely bring himself back, “HABIBTI” is not a complete disappointment as it reminds listeners that old Drake is still somewhere there.
RATING: 2/5
