The lines regarding relationships are acutely descriptive with frequently abrupt transitions from deep to shallow observations.

Through references to movement, and events that take place in automobiles and swimming pools, Ocean’s words continue to be fueled by his memories of youth and young adulthood in summertime, while recreational pharmaceuticals are a factor more than ever.

The writing talent on display, however, is irrefutable, whether it’s a sharp aside, the precision and economy in the chorus of the Beyoncé-backed “Pink + White,” or the agony evoked in “Self Control” (with an outro multi-tracked to pull heartstrings). Over the course of an hour, all the sparsely ornamented ruminations can be a bit of a chore to absorb, no matter how much one hangs on each line. He’s often accompanied by only keyboards or a guitar or two less than one-third of the tracks include the sound of his voice and that of a beat within the same space. In terms of pop appeal, none of it approaches “Novacane” or “Thinkin Bout You.” The focus is more on Ocean, the extensive list of “album contributors” – possibly a combination of studio collaborators and mere inspirations – notwithstanding. For those who felt the proper debut wasn’t forthcoming enough with hooks or traditionally structured songs, this is bound to seem less like a luxurious joyride on a freshly paved motorway than it does an interminable stay in a repair shop waiting lounge. Allusions to parallels between vehicular travel and other aspects of life, such as making music, were drawn, his relief in completing the Channel Orange follow-up made apparent. Studio Masters, Official Digital Download | Front Cover | © Boys Don’t Cryīoys Don’t Cry, the magazine distributed at pop-up locations the day this unlike-titled album was released, featured an essay in which Frank Ocean affably reflected upon his infatuation with cars.

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