Breaking down Drake’s Temu haul of an album drop

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“Iceman” has cometh — and then some.

Drake finally released his first solo album since 2023, titled “Iceman,” late Thursday. The release came after months of anticipation, especially following his highly publicized rap battle with Kendrick Lamar, which concluded with Lamar’s diss track, “Not Like Us.” Adding to the surprise, Drake also dropped two additional albums, “Maid of Honour” and “Habibti,” which most fans didn’t know were coming.

The three new albums feature 43 songs from the Toronto rapper and singer, who is trying to regain the popularity he enjoyed throughout the 2010s. After an initial listen, Mikael Wood and August Brown of The Times shared their first impressions.

Okay, so listening to Drake’s new album, “For All the Dogs,” it feels like he’s really responding to everything that happened with Kendrick Lamar. Everyone was expecting a harder edge after the disses, and honestly, that’s exactly what this album gives us – tough lyrics over really polished, but still strong, beats. It’s like he’s embracing a lot of different sides of himself – a lot of ‘Grahams,’ as the critic put it!

With songs like “Maid of Honour” and “Habibti,” Drake, age 39 (born Aubrey Graham), demonstrates his range: he’s both a world-traveling dance music enthusiast and a vulnerable R&B singer. This large collection of music feels like a deliberate attempt to remind us when Drake dominated not only hip-hop, but popular music as a whole – much like his 2018 album “Scorpion” which featured 25 tracks.

Is Drake’s decision to include so many featured artists a sign of impressive creativity, or does it suggest he struggles with editing his work? His album features collaborations with artists like 21 Savage, Central Cee, Sexyy Red, Popcaan, and Future. Notably, Future appears on the track “Ran to Atlanta,” which seems to be a direct response to Kendrick Lamar’s diss track, “Not Like Us,” where Kendrick accused Drake of frequently traveling to Atlanta to boost his street credibility.

The new song is starting to get airplay on rap stations, and it’s interesting to see “2 Hard 4 the Radio” gaining traction too – it has a similar vibe to Drake’s hits like “In My Feelings” or “Nice for What.” I also really noticed “Cheetah Print” – it’s definitely a song for the club – and “Goose and the Juice,” which has a surprisingly MGMT-like sound. It’s a bit unexpected, honestly.

Drake is facing a unique challenge: how can a hugely popular artist recover after being so thoroughly criticized, especially in today’s music world? It’s a big fall from being the most influential artist of the 2010s to publicly battling his record label and appearing on the livestream of Adin Ross.

His recent collaboration with Partynextdoor hinted he was moving on from a difficult period. However, this new music isn’t a defiant reaction to, or a complete break from, those tough years. It feels like he’s still exploring his options and trying out a lot of different directions at the same time.

You’re right, Mikael. Drake’s playful response to the criticism, like the song ‘Ran to Atlanta’ featuring Future, shows he can laugh at the situation – and it’s a smart move, because the song actually sounds good! ‘2 Hard 4 the Radio’ is a particularly clever and fun title, and the song itself has a cool, West Coast vibe. I think those two tracks, along with the pre-release single ‘What Did I Miss,’ are the strongest on the album. ‘What Did I Miss’ is big, energetic, and confident enough to prove Drake still has what it takes.

Despite the ongoing issues, Drake’s complaints on tracks like “Make Them Pay” – about needing validation amidst constant conflict and a harsh industry – actually feel somewhat justified. He’s always been skilled at portraying self-pity, and this time there’s a legitimate basis for it. However, following the release of “Not Like Us,” it seems questionable that he’d choose a sparkly white glove for his comeback album cover, given its association with a controversial figure.

Drake’s new release echoes his 2022 deep house experiment, but trades the atmospheric sound for a more energetic mix of Miami bass, footwork, and ghettotech. He seems to be aiming for the raw energy of classic Dance Mania records, but doesn’t quite commit to the style fully. Tracks like “Road Trips” and “Cheetah Print” have a lively vibe reminiscent of Nina Sky, while “Outside Tweaking” and “True Bestie” feature interesting production choices. However, despite aiming for a provocative dance album, the lyrics still focus on his issues with OnlyFans models, and the energy feels somewhat lacking. It’s surprising he couldn’t get a more impactful performance from Sexyy Red, and a line like the one on “BBW” – “So much ass you should be cremated” – feels awkward and even threatening.

The album shines brightest on tracks like “Habibti,” which surprisingly brings together disparate elements into something compelling. “WNBA” recalls the expansive, atmospheric sound of Drake’s earlier work, like “Take Care” and “Views.” “White Bone” is energetic and experimental, full of interesting sounds, while the guitars on “Fortworth” feel reminiscent of Justin Bieber’s early style. “Slap the City” blends R&B vocals with a unique sound, and at least acknowledges the emptiness of Drake’s romantic life. Though perhaps the most haphazard of these three albums, it’s also arguably the most complex and ambitious.

Drake just released a new album, and everyone’s talking about it. The album cover clearly references Michael Jackson, whom Drake often compares himself to in terms of success. Michael Jackson is the only artist to ever have three albums simultaneously in the top three spots on the Billboard chart, and given the huge online buzz around Drake’s release, he might be able to do the same. However, surprisingly, Noah Kahan could potentially prevent him from achieving that record.

For the past couple of years, Drake has sometimes given the impression he no longer cares about creating popular songs. His brief interest in online communities known for controversial views seems like an effort to bypass traditional industry channels and connect directly with a small, but dedicated, group of fans. However, Drake’s success has always been built on hit songs – his knack for understanding trends and turning them into incredibly popular music.

Aside from a couple of tracks—like “2 Hard 4 the Radio,” which feels like a natural progression—most of this music doesn’t capture that same energetic feeling. It’s either because Drake has lost touch with it, or simply doesn’t prioritize it. He also doesn’t seem interested in pushing the boundaries of pop music like he has in the past.

August Brown finds it amusing that Noah Kahan seems to be aiming for a chart record comparable to Michael Jackson, given how obvious his attempt is with this three-part release. There were reports of outages on both Spotify and Apple Music when the new music dropped, and Brown jokingly suggests Kahan might be intentionally spreading rumors about being so popular he broke the internet. Brown also notes that a particularly impactful line from the song “Make Them Cry” – “My dad got cancer right now, we battlin’ stages / Trust me when I say there’s plenty things that I’d rather be facin” – may be more dramatic than reality.

These three albums are poised to be incredibly successful. With rap currently underrepresented on the Billboard Hot 100, Drake is likely to achieve several top chart positions, demonstrating the unwavering loyalty of his fanbase. While it’s a sensitive comparison, Drake’s current trajectory mirrors Kanye West’s in a way – he’s become somewhat isolated from mainstream pop and hip-hop, after previously leading the way. He’s now operating more like a high-profile Twitch streamer, releasing expensive music independently.

Look, these new albums definitely feel like Drake is giving his die-hard fans exactly what they want, and that’s cool. But honestly, I don’t think these tracks will have much staying power beyond the immediate hype. Songs like “Luther” and even those silly “Wop” ad-libs? Those are the things people will still be referencing years from now – they’re just instantly iconic. These new LPs? I’m not so sure they’ll be remembered for nearly as long.

Drake seems to believe he’s the defining artist of his generation, like Michael Jackson was for his, and that his influence is too strong to ever fade. If that’s true, these three new albums certainly demonstrate it. However, after listening to them all, I mostly feel overwhelmed. Unlike his previous surprise release, “GNX,” which was immediately engaging and memorable, this feels like a massive, shapeless collection of Drake’s work.

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2026-05-15 21:02