Review: Rihanna's 'Unapologetic' A Step Forward

 

Unapologetic. Adjective. "Unwilling to make or express an apology." 

Wait! What do you have to be sorry for, Rihanna? The title seems to be a nod at Chris Brown more than anything, especially considering the controversy surround the two. But let's not get into that. Perhaps she's "Unapologetic" about her should-have-been-cut-in-half-and-turned-into-an-EP release, Talk That Talk, which was almost impossible to get through completely. More likely, the title is a reflection of Rihanna's mood about life in general, which really would make the sense. The album is, after all, completely lacking direction, but it still works... somehow.

Unapologetic is a step forward and thankfully away from Talk That Talk, which was pretty much held up by the success of two singles ("You Da One" was rejected by radio after its radio deal ended), three if you count "Cake" which was never officially released. There are a lot more tight and polished productions, especially on the latter half of the album where she ditches the Top 40-desperate productions and lyricism for a more somber mood that shows that Rihanna may actually about more than just a #1 hit on Billboard. 

Upon first listen "What Now" immediately became a favorite track, only to be topped by "Stay" and again by "Nobody's Business." For the first time since A Girl Like Me, the best tracks on the album aren't the ones you can guess will be sent off to radio. "Stay" is the most honest track in years and showcases Rihanna belting for once, not screaming or screeching like in "Russian Roulette" or "Love The Way You Lie." The supporting piano compliments her beautifully pained vocals. "Nobody's Business" is golden, despite the annoying way they chose to pronounce "business." (Bitnis?) The track is obviously a sucker punch to the media for butting into the questionable and confusing relationship between the two... but lyrically, the song is really what love is all about and I have always agree that one of the major downfalls of pop culture is that it puts the artist's personal life before their art sometimes. Both Rihanna and Chris should be proud that they are able to have whatever kind of relationship they have, regardless of what the world thinks. "It ain't nobodies bitnazz! Just mine and my baby!" I also enjoy Chris Brown's MJ impression. 

There are some great moments on the first part of the album too. "Right Now" is starving to be released to radio, sitting on top of one of the most dangerously constructed beats in Guetta's catalog. Listen with caution because you could unintentionally dance yourself to death. You also have "Numb" which is also one of the better productions of the album, though I could have lived without the 90s inspired vocal layering in the beginning of the song. "Jump" is also incredible up until the breakdown, which builds up to a disappointing dubstep session. It could have used a siren or some other hokey bells and whistles to make it sound fuller. Then, of course, there's "Diamonds," which is the stand-out moment of the album and one of the top songs of the year overall. 

Personally, I feel like the album falters in its lack of rhythmic radio smashes a la "What's My Name" or "Rude Boy," which is honestly where Rihanna flourishes. Songs like "Pour It Up" seem contrived and Rihanna comes across as desperate to live up to her "thug life" tweets. It sounds more like a 2Chainz song than anything. "FPhresh Out The Runway" has a lot going on. Too much to really make out Rihanna's vocals, which have been autotuned to death. The other songs are good, but forgettable. 

I'm happy with this album. Better than I expected. It doesn't deliver as many instant hits as Loud or Good Girl Gone Bad, but definitely helps me forget about the painfully pitiful album that was Talk That Talk.

 

(7 Out Of 10 Stars)