Noise FM // William Card
Some routines are great. Some are not.
My experience in music has presented a dilemma. The pure entertainment value of a sound recording on first glance seems one dimensional. You pull up Spotify’s landing page and viola: 30 different playlists, albums, and singles are at your finger tips. The reality is that while this assemblage seems to magically appear, an army of planners has set up billions of booby traps to catch the heedless consumer by surprise.
As a music editor, it was embarrassing for me to cover Future’s self-titled album without knowing that another full-length album, HNDRXX with features from the Weeknd and Rihanna was afoot. This was truly the Frank Ocean release model we saw later last year.
Ocean released back-to-back LPs and fooled mainstream audiences—including the Sentry—that Endless was his long-awaited album while Blonde—the main attraction—waited silently in the wing. As simple as it sounds, a boat-load of coordination goes into these releases. For example: 1) Maroon 5 released a song a couple weeks back featuring Future. It was the first time in a while that we saw the rappers name in the mainstream. Then, 2) Future begins to hype his next self-titled LP. The album comes out, and despite an overall flat effort from the Atlanta rapper, I give the album an upbeat review.
Low and behold: three days later, 3) press releases dropped left and right announcing that Future would drop a second and surprise LP featuring songs with mega-hitmakers. “The what?” I thought to myself. I had been freakin’ Frank Ocean’d. Then this week I saw that Ariana Grande released her music video for “Everyday” with Future. At that point, I realized that this was just one giant Future-fest. The only thing that would make this worse is if Future announced a full tour. Oh wait. See you on June 13 at the Pepsi Center.
Music has a way of spooking people. But consider this column a resource for the next time you’re being Ocean’d half way up a tree.