Rihanna – ‘Anti’

Nowadays it’s hard for an artist to surprise you. After years of endless hype, endorsement deals, video teasers and a trilogy of buzz singles, Rihanna’s eighth studio album Anti was finally released online on the 28^th January 2016. The best bit? 1 million copies were given away for free, in what she described as a “gift to my navy”: the fans that have been waiting over three years for a record that marks a change from her year-by-year album releases. The reason for the endless delay is unknown; many speculated that the record was ready as early as November last year. Tour sponsors Samsung were apparently getting impatient given that the $25 million deal inked last year was going towards a tour beginning as early as February with no album to promote it.

Upon hearing the record, however, the delays were worth it. Rihanna has made an anti-album, one that musically differs from what she has released before and a record that is the embodiment of who she is now, over a decade into her career. The record spanning 13 new tracks (16 on the deluxe) excludes the singles released last year, the boring ‘Four Five Seconds’, the ratchet ‘Bitch Better Have My Money’ and the disgracefully dull ‘American Oxygen’. Instead, a more inspired and confident artiste is presented, now unconcerned with hit singles and yearning people to hear her record as a cohesive whole.

After years of endless hype, endorsement deals, video teasers and a trilogy of buzz singles, Rihanna’s eighth studio album Anti was finally released online on the 28^th January 2016

Anti, in my opinion, is the most consistent since 2009’s critically acclaimed Rated R. But was this record also intended for such critical acclaim? This seems convincing considering Rihanna has omitted tracks from regular collaborator Stargate (known for some of her biggest pop hits) and has also not worked with any major dance producers. Anti instead is incredibly left field and is widely genre spanning compared to Rihanna’s previous work. From exploring minimalist hip-hop and hipster R’n’B, to modern soul jazz and wavy psychedelic rock, this is Rihanna as never heard before. It is also clear that this record is the one no one expected her to make soundwise, given that the singles released last year stuck to the hit formula of big writers, big producers and big features, unlike most of Anti.

The opening track on the record, ‘Consideration’, seems like a proper transformation for a singer who previously seemed to ooze confidence in everything but the music she put out. “I’ve got to do my own things, darling”, fittingly suggests how Rihanna is no longer content on recording albums in between tours and appearances and in turn presents a singer that is more concerned with perfecting her music and releasing it whenever and however she wants. The additional taunting vocal from singer songwriter SZA is a perfect combination with Rihanna’s stuttered rapping and murky bass thumps.

From exploring minimalist hip-hop and hipster R’n’B, to modern soul jazz and wavy psychedelic rock, this is Rihanna as never heard before.

This initial loudness contrasts to ‘James Joint’, a slow groove and ode to Rihanna’s love of sex and drugs, which despite initially sounding try-hard, is actually a beautiful combination of jazzy piano rhythms and soulful vocals. This soulful trend continues on the electrifying ‘Kiss It Better’, a classic in the making, with soaring 80’s guitar solos, trippy synths and swooning lyrics presenting the want for a relationship to rekindle once more. The theme of love is also present on ‘Desperado’, interpolating the instrumental of American singer BANKS alongside ghostly vocals, buzzing electronic echoes and dramatic lyrics documenting two lovers on the run and the self-confession of not wanting to be alone even if it would be better to be.

Rihanna also pays homage to her previous works particularly on lead single ‘Work’ featuring Drake. Working with Toronto producers 40 and Boi-1da she sucessfully combines dancehall ambiances, Jamaican Patois terminology and subtle electronics. The track is infectiously catchy and is the most instant on the record, deserving of being another hit amidst Rihanna’s extensive catalogue. Another track also deserving of hit status is the sensational, and I mean sensational, ‘Needed Me’. It is the best track on the album; successfully combining trippy echoes, haunting bass vibrations, trap reverbs and brutal lyrics. The lyric “Didn’t they tell you that I was a savage, fuck your white horse and a carriage” is in itself a highlight, epitomizing that Rihanna really does not give a fuck about the success of others.

This is what makes Anti so great. On it she no longer chases the trends, and instead, sets a lane for others to follow while being completely open with her musical audience. Her honesty is shown once more on the bluesy ‘Love On The Brain’, lyrically exposing the difficulty of being in a turbulent romance. Rihanna’s vocal on this track oozes confidence and in places sounds completely different to anything ever before. This alongside the doo-wop sounding instrumental full of romantic strings and organs makes the track yet another highlight on the record.

The lyric “Didn’t they tell you that I was a savage, fuck your white horse and a carriage” is in itself a highlight

Elsewhere is the pulsating ‘Woo’ which showcases Rihanna’s desire to experiment. Using repetitive atonal guitar chords throughout, manipulated vocals and owl-like woo’s, it’s a track that’s both terrifying yet glorious at the same time. What comes as an additional surprise is that such a track was a collaborative writing between The Weeknd, The Dream and Travis Scott, and yet, would not sound too out of place on Kanye’s Yeezus.  This experimentalism is revealed further on ‘Same Ol’ Mistakes’, a cover of ‘New Person, Same Old Mistakes’ by Australian psychedelic band Tame Impala. The peak of unexpected arrives at this point as Rihanna treats the track as if it was her own, adding heavenly, sensual vocals, a more prominent bassline and a gleaming synth. The whole thing is just bonkers and brilliant at the same time. Contrasting to this hallucinogenic anthem, the next track ‘Never Ending’ is a meaningful and stripped back ballad whereby a subtle acoustic guitar interpolates Rihanna’s loving vocals with Dido’s 2000 hit ‘Thank You’.

This experimentalism is revealed further on ‘Same Ol’ Mistakes’, a cover of ‘New Person, Same Old Mistakes’ by Australian psychedelic band Tame Impala

Despite these ingenious uses of samples, ‘Goodnight Gotham’ (a dazzling and thunderous version of Florence & The Machine’s ‘Only If For A Night’) doesn’t quite come off. It’s relegated to a bonus track interlude that sounds unfitting to the rest of Anti. Additionally, another part of this record that requires consideration is the fact that certain tracks seem too short. An example of such is the dazing Timbaland produced ‘Yeah, I Said It’, the sexiest song on the record with flirty adlibs and a sensual vocal over a smooth, subtle R’n’B beat. But despite its glory, you cannot help wishing that it lasted longer. Likewise, the loving ‘Higher’ showcases a husky and soaring vocal, bursting with passion and desire over a charming piano and string arrangement. This is by far the most straight up love song Rihanna has produced in a long time, but again it’s brevity lets it down, coming in at just 2 minutes long.

Nonetheless, closing the record is the beautiful ‘Close To You’, a track that is a seamless conclusion to a record that sees Rihanna experiment more than ever before. The sophisticated ballad is stripped back and allows Rihanna’s sensitive vocal to shine with a wonderful running piano throughout and a subtle string and guitar build at the end. While some may argue that Rihanna has released an album with no bangers, these people need to carefully consider what Anti is all about. If you want big commercial pop bangers, go listen to Rihanna’s dozens of others. Anti is a reinvention for Rihanna, an artist that is now unconcerned with having wider appeal and playing it safe. The proclamation of  “I feel like a whole new person” could not be any more fitting. Welcome experimental RiRi, I commend you.