- Since stealing the show on Dr Dre's Compton album, Anderson .Paak has firmly planted himself into the hip-hop mainstream. His 2016 release Malibu showcased incredible talent and diversity, with .Paak incorporating influences from funk, soul, and hip-hop into each track. Leading up to Oxnard it was revealed that Dre himself would be executive-producing the entire thing. To say fans' expectations were high would be an understatement.
Stylistically, Oxnard falls largely in line with its predecessors. As expected from Dr Dre's production, these beats are uncompromisingly Californian; g-funk synthesisers, melodic soul samples and snappy percussion in abundance. Every element feels endlessly fine-tuned and considered, giving the album a glossy sheen that's clearly aimed at mainstream appeal.
.Paak himself is in fine form, confidently commanding each track with an undeniable presence on the mic. Although there's no shortage of melodic moments, Anderson seems to be leaning more heavily on his rap skills. This is likely to deter some fans who have enjoyed his more soul-focused work in the past, but it's by no means a detriment. What .Paak lacks in technical skill as an MC he makes up for with boundless energy, sassily spitting memorable quips and brags which place his personality front and center.
However, this focus on lyrical content also highlights a severe lack of depth. Oxnard is themed around West-coast hedonism, a topic, I'm sure, listeners are all too familiar with. Lines about women, drugs, cars, sex, and pretty much every other trope we've come to expect from the genre feature prominently throughout the album, making for a disappointingly one-dimensional experience.
This is particularly true for Anderson's blatantly sexist attitude, which repeatedly pops up to ruin a few otherwise great tracks. These moments are rarely amusing, whether he's calling his girlfriend a 'petty, petty bitch', stereotyping every woman he's ever slept with on Sweet Chick, or writing a song that's literally just about oral sex while driving in Headlow. The latter of these tracks features an explicit skit at the end, something I hadn't heard since the early 2000s and didn't particularly want to hear again. I'm willing to excuse some level of tongue-in-cheek misogyny as a trope of the genre, but this is ridiculous.
Saying that, .Paak's charisma is undeniable, and he single-handedly carries many of these songs. I mentioned his presence on Dr Dre's Compton album before, and it makes a lot of sense that Dre is executive producing here as both albums share almost the exact same issues. First of all, Oxnard feels endlessly overproduced, bogged down by unnecessary beat switches and pointless excess in the instrumentals. Anderson's voice is uniquely captivating, yet it seems the album is constantly trying to distract you from it.
Second, the trackisting is bloated by a mixed bag of features. While Pusha T and Q-Tip's personal contributions go down well, BJ the Chicago Kid does nothing but underwhelm next to .Paak, and J Cole is his usual uninteresting self. 2016's Yes Lawd! collaboration with producer Knxwledge proved that Anderson was capable of carrying an album without external support, and in comparison Oxnard's guest list just feels like a compromise.
Overall, as much as I've complained about Oxnard, it's still impossible to hate. The production has its issues but isn't lacking quality, and numerous features do help to break up a lengthy track list. I guess it's just hard not to be disappointed given the endless talent .Paak displays. I'm positive there's an amazing album in him somewhere, and while that might not be Oxnard it's still one of this year's better releases from the West Coast scene.
- Boddhi Farmer.