Snubbing nearly every contemporary radio trend, it positions itself instead as the latest in a line of revelatory, late-period neo-soul albums
Channel Orange’s scale and scope are impressive to behold.
The album climaxes in romantic deluge; Ocean’s magnificent delivery ensures every tearful story feels true, tangible, relatable. In throwing his emotional locker wide open, Frank Ocean has made a tender, engrossing classic.
This album is every bit as boldly conceived, brilliantly executed and irrefutably fresh as the hype has it.
In a formulaic era, his production is impressively idiosyncratic, heavy on hazy electronics and cavernous, dubby reverb, and packed with weird touches: the melodies never quite pan out as you expect them to, while the backing shifts and changes unpredicatably.
Channel Orange is a stunningly ambitious soul album that establishes Ocean as one of the most creative artists in modern popular music. It's simultaneously of the moment and an undeniable classic.
The 24-year-old has quickly proven himself to be among the most gifted singer-songwriters of his generation; he's got the type of voice, wit, charm, smarts, and ineffable humanity that's always hoped for, but never promised.
No matter what Ocean's mood is on the album, the songs sound fantastic.
Frank’s strengths are his versatile voice, the breadth of his songwriting capabilities, the way he mixes and matches old aesthetics and ends up with strange new combinations
Channel Orange is a superbly forward-thinking piece of work that places Ocean lightyears ahead of his peers.
One listen to Channel Orange makes it obvious that he is as free as an artist as he is as a man. The album doesn't have as many slyly powerful hooks as Nostalgia, Ultra, but Ocean's descriptive and subtle storytelling is taken to a higher level.
As Channel Ocean reaches its end, every emotion associated with it can be traced back to one: fulfilment.
No expectation could have prepared listeners for how good this album is.
Beyond genre lines, racial lines, sexuality lines, any lines you can think of, it's that all-too-rare gem: a universal story you'll come back to long after the hype's been and gone.
channel ORANGE feels like one long, moonlit, air-conditioned ride. Songs ease from one to the next, flowing together with ambient pieces of distant movie dialogue and the sound of electronics turning on and off.
Every song breathes like an individual fragment of Ocean’s personality and past, coaxed and caressed into life by his stunning voice and considered songwriting.
Channel Orange is so textured, complex, and mature
Frank Ocean has placed himself above genre borders and identity labels with Channel Orange.
Frank Ocean belongs to a tiny sub-genre of artists who possess the ability to sing in falsetto about a girl smoking crack and still sound like a fucking angel.
Restraint is key to the execution of Channel Orange, a neo-R&B album that, for all its layered beauty, never overwhelms.
Channel Orange is going to be the standard to beat for some time. And it might very well be the best R&B album of our young decade.
Ocean is less concerned with urban realism than with his own ‘80s-noir fantasy of what the city’s like, and his music captures that vibe perfectly, pulsing with electro-soul grooves, vintage jazz-funk, and Angelino-friendly cameos by John Mayer and Andre 3000.
channel ORANGE finds Frank Ocean rising to the challenge with a class unlike anyone in music these days.
A largely beatific album, it propagates love over high living, but also shipped is the urban locale ... substituted for the same precocious wisdom, emotional intelligence, writerly nuance and reasoned portrayal of lust displayed on the Tumblr post.
With Channel Orange Frank Ocean has proven himself as one of the most significant artists in popular music today.
When Ocean reins himself in, tucking his words and melodies into tighter verse-chorus structures, the songs have startling force.
|# 1 -||A.V. Club|
|# 2 -||AllMusic|
|# 19 -||American Songwriter|
|# 2 -||BBC|
|# 4 -||Beats Per Minute|
|# 3 -||Clash|
|# 25 -||Cokemachineglow|
|# 1 -||Consequence of Sound|
|# 5 -||DIY|
|# 2 -||Exclaim!|
|# 16 -||FACT Magazine|
|# 2 -||FILTER|
|# 2 -||Gigwise|
|# 16 -||Gorilla vs. Bear|
|# 2 -||MOJO|
|# 1 -||musicOMH|
|# 3 -||NME|
|# 6 -||No Ripcord|
|# 5 -||Obscure Sound|
|# 1 -||Paste|
|# 1 -||Pazz & Jop|
|# 2 -||Pitchfork|
|# 1 -||PopMatters|
|# 2 -||Pretty Much Amazing|
|# 2 -||Rolling Stone|
|# 1 -||Slant|
|# 1 -||SPIN|
|# 2 -||Spinner|
|# 2 -||Stereogum|
|# 6 -||The 405|
|# 3 -||The Fly|
|# 1 -||The Guardian|
|# 5 -||The Line of Best Fit|
|# 45 -||The Wire|
|# 3 -||TIME|
|# 5 -||Time Out London|
|# 12 -||Tiny Mix Tapes|
|# 5 -||Uncut|
|# 11 -||Under the Radar|
|# 4 -||Billboard (2010-2014)|
|# 11 -||Drowned in Sound|
|# 1 -||Entertainment Weekly|
|# 1 -||Greg Kot (Chicago Tribune)|
|# 4 -||Idolator|
|# 33 -||NME (2010-2014)|
|# 147 -||NME Top 500 of All Time|
|# 4 -||Pitchfork (2010-2014)|
|# 1 -||Pitchfork Readers|
|# 10 -||Rough Trade|
|# 130 -||SPIN (1985-2014)|
|# 3 -||Urban Outfitters|