The Record A Critical Conversation About Frank Ocean's 'Endless' Video Album This feeling of freedom within containment, of traveling at a high speed on a course that is smooth and open - and of being comfortable with motion even in your most vulnerable, childlike moods - was the one that best fed the creativity he needed to complete an album as highly anticipated as any to come out this year, even though, since he relocated from California to the clogged streets of London, Ocean doesn't even drive much any more. I put myself in her seat then I played it all out in my head." Ocean imagined himself wriggling against the seatbelt, he wrote, playing with its tension until it no longer constrained him. Her eyes seemed clear and calm but not blank, the road behind her seemed the same. "Two years ago I found an image of a kid with her hands covering her face," the artist wrote in an essay posted on his Tumblr the day this weekend the album, four years in the making, finally became available." A seatbelt reached across her torso, riding up her neck and a mop of blonde hair stayed swept, for the moment, behind her ears.
cover art spelling situation, we're calling it Blonde throughout.)Īnn Powers: When he began to put himself into the mind-frame that would inspire his new album Blonde, Frank Ocean imagined himself in a moving car. And without clarity regarding the whole listing vs. (Ann Powers and Jason King write about both the physical and digital versions of the album interchangeably. We find it impossible and personally limiting to consider this album outside of its context, so the below is as much a state of affairs as it is a straight-ahead review. They did so across many time zones and man hours what emerged is a conversation that stays fair-minded and grounded and ends in questioning both the artist and his audience. Over the weekend we asked Ann Powers and Jason King to wrestle with Frank Ocean's long-awaited follow-up to 2012's Channel Orange. 9 and Zach Bryan’s “American Heartbreak” closes out the top 10.Frank Ocean's raw, bleeding, diaristic storytelling guides Blonde. 8 on the Billboard 200, Bad Bunny’s “Un Verano Sin Ti” is at No. The set is composed of covers including Genesis’ “Jesus He Knows Me” and the late Tina Turner’s “We Don’t Need Another Hero.”
7 with their five-song album “Phantomime” notching 36,000 units. Grammy Award-winning Swedish rock group Ghost debuts at No. It earned 44,000 equivalent album units, including 40,000 album sales and a little over 5 million streams. 5 with their tenth studio album - and their first in five years - “ Walk Around the Moon.” The group’s pandemic record is their 14th top 10-charting album on the Billboard 200. 2 with an uptick of 77,000 equivalent album units earned following its release on CD and vinyl on May 19.Įlsewhere, Dave Matthews Band enters the list at No. SZA’s “SOS,” which ruled the chart for 10 weeks earlier this year, is at No.
Swift, like Wallen, also has a second album in the top 10 of the Billboard 200: 2019’s “Lover,” which lifts to No. 3 on the list with 58,000 equivalent album units, while Wallen’s 2021 release “Dangerous: The Double Album” is at No. Fueled by bonus tracks like a “Karma” remix featuring Ice Spice ( the collab was released with a music video featuring both artists, and got its live debut during Swift’s MetLife tour stop on May 26), and a new version of the Lana Del Rey-featuring “Snow on the Beach,” the record has a fair shot at ending Wallen’s consecutive reign. Wallen’s set will likely be challenged by Swift’s “Midnights” in the following week due to the album’s May 26 reissue.
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