Friday, 14 December 2018

Anderson .Paak ‎– Oxnard (2018)

Genre: Hip Hop
Format: CD, Vinyl
Label: Aftermath Entertainment, OBE, 12Tone Music

01.   The Chase
02.   Headlow
03.   Tints
04.   Who R U?
05.   6 Summers
06.   Saviers Road
07.   Smile/Petty
08.   Mansa Musa
09.   Brother's Keeper
10.   Anywhere
11.   Trippy
12.   Cheers
13.   Sweet Chick
14.   Left To Right

With its languid pace and sunstruck mix of hedonism and tragedy, Los Angeles has always had a powerful and enduring relationship with funk music. The onset of G-funk in the ‘90s channeled the whining synthesizer experiments of Zapp and Parliament Funkadelic into something sepulchral and nihilistic and, in doing so, defined parameters for L.A. Funk. And now, you can hear Parliament-by-way-of-Dr. Dre in the music of Thundercat, Dâm-Funk, Terrace Martin, and Dre’s own Aftermath Records artist, Anderson Paak. 
On Oxnard, Paak’s follow-up to his 2016 breakthrough Malibu, the rapping, singing, and drumming polymath approaches funk from a rap perspective. When Paak allows himself to be instinctive and loose, Oxnard blends these influences with a comforting ease. Cloaked in natty threads and a horndog ladies-man persona, he favors bubbling bass, silky textures, and sunset timbres, forever somewhere between Snoop Dogg’s “G’z Up, Hoes Down” and Bootsy Collins’ “I’d Rather Be With You.” In that richly instrumented, sometimes misogynistic, and sexually debauched space, Paak has enough leeway to showcase his versatility as a vocalist. 
In the best possible way, Paak has a voice like ’80s R&B singer El DeBarge after a pack of cigarettes. Though Paak doesn’t have DeBarge’s piercing falsetto, his pitched-up, suggestive rasp is apt for a self-styled lothario. Throughout Oxnard, he exalts blowjobs and carps about a “petty bitch” and, on “Sweet Chick,” has sex with a skater who “watches anime while [he’s] laying dick.” Even his vaguely political song, “6 Summers,” opens with artless wish-casting: “Trump’s got a love child/And I hope that bitch is buckwild/[...] I hope she kiss señoritas and black gals.” Individually, his moments of hetero-masculine bluster are mostly passable—”Sweet Chick” is particularly enjoyable—but, in aggregate, they seem like a sock stuffed down the front of his jeans.
Torii MacAdams / Pitchfork

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