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He miscasts the pain of isolation on women he doesn’t know how to love. PND is vitally committed to being in the studio alone. He wants affection but he continues to run away from it. After choosing to leave a past lover in Texas, he longs for her dedication: “ Keep it for me/ Keep it for me/ That loyalty is all I need“. On “You’ve Been Missed,” he raps, “ These bitches crazy, crazy, they want my first and last/ They want my time, and past, you know you know.” On “Nobody,” it’s his emphasis on integrity that drives his single life. People, cramped in tour buses and commercial flights, continually surround him, but his loneliness still festers. The cities act as the hinge of a paradox. These are not simply appeals to a worldwide audience, but also sites of relationships gone awry. PND shouts out all of his mentors hot spots (Atlanta, Houston, Miami, Toronto, etc.) on songs like “High Hopes” and “Spiteful” and talks of long flights out of YYZ (Toronto Pearson International Airport). This transitive ethic is found in his lyrics as well. He’s still in motion, in transit, towards a more complete sound. This record shows an artist who, on pretty much every other track, is empowered by self-confidence and is still trying to push the bounds of his craft. But the mucky piano strokes and skeletal backing on the track “Brown Skin” or even the preciously discreet ballad “Joy” represent the opposite side of that coin. From the inexplicable seven-minute long introduction, “High Hopes,” to the annoyingly repetitive “Transparency ” musical gratuity is a common theme for artists with far-reaching freedom. With greater artistic freedom on P3-he recorded, mixed and produced much of his own music-PND flexed the parameters of the modern R&B/pop crossover, with inconsistent results. PND, with the awareness of a veteran producer, allows for the deeply sparse drumbeats and sensual mid-song interludes to create wet, drugged-out tension that, more often than not, excuses his lyrical superficiality. PND is much better at telling us how rejection feels-” Don’t get caught up with that nigga/ Don’t hate on my new bitches/ Cause you got you a nigga”-than describing the intense emotion. “Only U” is an even more fiery appeal to a former lover: “ My body can’t just do it for anybody/ My body can’t just lose anybody/ I only want you.” Lyricism-or even particularly dynamic vocals-isn’t really the aim here. PND follows up “Work” with “Not Nice,” a Vybz Cartel sampled ass-shaker propping up the artist’s heart-bruised vocals. PND, whose mother is Jamaican and father is Trinidadian, glides over dancehall beats with an effortless punctuality that reminds all of us who’s the mentor and the mentee in the Drake-PND Jamaican patois power dynamic. The isolationism brims on P3, but its clever mix of humid sex music grounds the loneliness with a plea for physical pleasure that is, at once, tragic and admirable.ĭespite its problematic appropriation in American mainstream culture, the demand for dancehall in 2016 is remarkably high. P3 finds the artist with a confidence emboldened by countless hours of solitary confinement in the studio.
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The OVO-signee slightly pivots from snappy jazz saxophones and a more workmanlike disposition displayed on his first studio album PartyNextDoor Two (P2) to carnal yet careful dancehall riddims more aligned with his writing credit on Rihanna and Drake’s chart-topping smash “Work.” On P2, Brathwaite never lacked optimism-though it was clear he was still figuring out the direction of his particular sound. It makes sense for Jahron “PartyNextDoor” Brathwaite to reveal his Jamaican patois on his new album, PartyNextDoor 3 (P3).
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