Rihanna
Unapologetic
Unapologetic
DefJam
It’s
fair to say some artists work harder than others. While some singers take years
off (still waiting for La Roux's Second album) others produce a constant stream
of tracks, tunes and media attention. And arguably one of the busiest artists
is Rihanna, who recently released her latest album Unapologetic, her 7th in as many years.
Phresh Off The Runway doesn’t exactly open the album,
but more explodes into the listeners face. It’s loud and offensive, with its
electric backing hook and the tracks title repeated relentlessly over and over
again. Yet ultimately, it is Unapologetic,
and if you stick with it, you’re rewarded with Diamonds, the first single to be released from this record. It’s a gleaming
new side of Rihanna not seen before, and is a bold move. As is Numb, which contains the first of
several album collaborations, this one being the once retired rapper Eminem. He’s
not to everyone's taste and whether you like this song depends on whether you
enjoy Eminen rapping phrases such as: "I'm the bum police and I’m looking
at your rear rear rear". Other questionable lyrics occur in the minimalist
RnB track, Pour it up, a song
dedicated to strippers and Rihanna’s love of money. This offensive aggression
is lost however in Loveeeeeee Song
(Yes Rreeeeeally), with the Love/Lust lyrics featuring the smooth tones of Future.
However,
by now the album needs a shot of adrenaline, which is handily brought on by Jump and Right Now. These dubstep
infused tracks mark a turning point for the album. Very few records have a
better second half compared to their opening tracks, yet this album certainly
does.
What Now is a powerful melodramatic ballad
that bursts with energy as Rihanna intertwines stabbing bass and piano chords
to create a strange marriage of the two. The piano theme continues into Stay featuring Mikky Ekko. Strip away
all that snarling anger from before and you are left with the sad, desperate
lyrics in this emotional ballad. You can’t help but have concern for Rihanna
and this softer, subtler side of her. However, that concern elevates to its toe-curling
levels during Nobody’s Business, a
track featuring a collaboration that is the definition of awkward. Featuring
the Chris Brown is hard to read and comprehend, as the once time women beater
sings about how his and Rihanna's relationship is Nobody’s Business. It’s awkward to listen to, with each lyric more
painfully cringeworthy then the next. If you can get passed this, and the fact
Rihanna struggles to say “Business” ("Busnesth")
then the song itself is quite enjoyable. The Michael Jackson inspired outbursts
are fun and overall the track has a merry bouncy feel about it. But, there's
always that nigglying feeling that something’s not quite right, the deep
undertones seen in the awkwardness, and openness, of this collaboration.
Love Without Tragedy/Mother Mary is a 7 minute long ballad that is
full of powerful and meaningful lyrics creating a very deep and personal track.
It is surprisingly enjoyable and refreshing, as is the following track Get It Over With. One last electronic
thumping track is needed to close the album, with Lost In Paradise crossing dropping beats with ballad style vocals.
As the
album comes to a close, it’s clear to see that Rihanna has offered up a mixed
bag with Unapologetic. Wade through
the first half of murky collaborations and shouty-swag, and you’ll discover a
much better (both lyrically and musically) second segment. And, if you listen
to some tracks a few more times, the album does kind of come together. Take it
or leave it, this is Rihanna, and she won’t say sorry to no-one.
