Though I would rarely say a record slaps in a review, .Paak delivers so consistently on this record that it’s one of the most accurate ways to describe how great this record feels.
It may not be as beautifully consistent as Malibu, but during those glorious pinnacles when Oxnard is firing on all cylinders, it’s undeniably some of the best music of 2018.
Post-mainstream breakthrough, ‘Oxnard’ is a deft dissection of the fallout, just as free-ranging and hopeful as you’d imagine.
It may not be quite the full-marks classic he’d hoped, but Oxnard is an intriguing next step for the 2016 XXL Freshman that demands repeat listening and hints that he may have a Blueprint in him yet.
Oxnard has a stronger sense of direction than its predecessor and is a breath of fresh air in the current state of pop rap and neo-soul.
Despite its adherence to the new school of West Coast Funk, and despite .Paak’s brilliant performance as MC – Oxnard does not feel like it will have the staying power of 1993’s Doggystyle, 2005’s The Documentary, or Kendrick’s DAMN. Still, this album bumps.
It’s less cohesive than the high watermark he set with Malibu, but hitching a ride back to Oxnard is a freewheeling and occasionally exhilarating quest into Paak’s sonic curiosity.
Oxnard boasts several great moments, but the album is merely good.
Ultimately, the bigged up production doesn’t suit .Paak’s soulful tendencies, which are further lost in his switch to rap. There are a few highlights, sure, but not nearly enough for an artist who I would’ve placed bets would be the next Big Thing.
With Oxnard, Paak proves that he’s an artist built to last and a musician who has earned his place among hip-hop’s elite
Paak can do nearly anything, but that doesn’t mean he should do everything. With its often effortless synthesis of funk and rap, Oxnard is a wide-angle portrait of Los Angeles’ hedonistic landscape—it’s just a little out of focus.
Oxnard doesn't wow on the first, third, or even fifth listen. But it isn't short on bright spots either, even if they take a while to reveal themselves.
Oxnard's penchant for twisting, not sticking, coupled with a Dre-shaped emphasis on beats and bars, leaves it woefully light on actual songs. The hum-able hooks and slow-burning arrangements of previous albums cast shadows over it.
Oxnard isn’t quite the epic final chapter .Paak clearly craved for his trilogy – it certainly fails to compare to his 2016 breakthrough masterpiece Malibu – but you have to wonder if he really cares that much. On so many of these tracks he sounds restless, like he’s already thinking about moving on to bigger and better things.
This meeting of joy and aggression is what defines Oxnard, and the effect is not always pleasant – it makes .Paak’s trademark grooves difficult to luxuriate in – but it is still a compelling mode, and one that rehomes his old-school tastes firmly in the present.
Oxnard doesn’t fulfill his dreams for creating a West Coast hip-hop soul epic for the age, but it’s not for lack of trying.
Oxnard is a breezy and charming listen front-to-back, but while it’s a treat to watch Paak work through his creative processes and explore these funk variations, most of the songs here fail to sink their hooks in in the way it feels like they should, perhaps the fault of releasing such a summery album on the brink of winter.
Oxnard tries so hard to be a masterpiece that it forgets what made .Paak’s music so compelling in the first place, swapping out his easy-going, straightforward persona for stiff storytelling and jumbled verses that aren’t nearly as engaging as he is.
THIS... ALBUM... IS SO AWESOME
The features, the versatile soundscapes, the incredible soul, this is truly a gem.
I wish Anderson didn’t wear some of his influences so heavy across this album sometimes (TPAB cough cough) but when this thing works, it works wonders. Really fun album
Prelude: I havent even listened to this yet and Im already pretty confident from the singles thst this is going to be my rap album of the year
Conclusion: Though I was a little off with my prediction this is a very solid Jazz Rap album that really seems to wholely embrance Anderson's personality and the culture of Southern California.
P.s. Tints is one of the catchiest songs all year
Fine album. Similar sound to a lot of other Paak albums, but I liked the production and features so it does stand out in some ways. Good soundscape, and I do tend to enjoy Anderson in most cases, so this album fell in line for the most part
Possibly Anderson most overrated album. Instrumentals are not anything spectacular and his vocals are not as strong as other releases
1 | The Chase 3:23 feat. Kadhja Bonet | 80 |
2 | Headlow 4:10 feat. Norelle | 79 |
3 | Tints 4:28 feat. Kendrick Lamar | 89 |
4 | Who R U? 2:48 | 83 |
5 | 6 Summers 4:42 | 82 |
6 | Saviers Road 2:24 | 78 |
7 | Smile / Petty 4:42 feat. Sonyae Elise | 80 |
8 | Mansa Musa 2:53 feat. Dr. Dre, Cocoa Sarai | 79 |
9 | Brother's Keeper 4:14 feat. Pusha T | 84 |
10 | Anywhere 3:46 feat. Snoop Dogg, The Last Artful, Dodgr | 83 |
11 | Trippy 5:23 feat. J. Cole | 82 |
12 | Cheers 5:34 feat. Q-Tip | 85 |
13 | Sweet Chick 3:57 Bonus Track feat. BJ the Chicago Kid | 82 |
14 | Left to Right 3:55 Bonus Track | 72 |
#7 | / | ABC News |
#8 | / | KCRW |
#10 | / | BLARE |
#27 | / | The Needle Drop |
#41 | / | Far Out Magazine |
#43 | / | Digital Trends |
#44 | / | Complex |
#90 | / | NME |
/ | Esquire (UK) | |
/ | Magnetic |