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Writer's pictureSwolst

Rihanna's Anti - Album Review

Updated: Jan 22, 2023

by Sam Wolstenholm

Some caveats before we get started here. First, I'm aware this isn't the actual album artwork. It's like a backwards version. You know what it is, don't sue me. Second, I decided not to review the delux version of this album (it has three extra songs on it) because that isn't the vision of the artist. That has nothing to do with whether or not I like the additional songs, but I'd like to review the project in its intended form. Umm..that's it I think as far as that goes.

Anti is Rihanna's eighth studio album and was released on January 28th of 2016. Though she has had numerous massive hits up to this point in her career, it didn't really seem like that was her goal with this one (except for one song, but we'll get to that). Well, I'm sure you're just raring to go (or to just skip right to the end to spoil it for yourself...smh). Let's get it.



 


A great start to this project. SZA had her hand in the writing, and you can kind of tell here. Rihanna seems to be doing her best SZA impression because they're singing style on this are pretty similar. It sounds like something that could've been on SZA's Ctrl if it had different drums. Speaking of the drums, I wish there were different drums. At the very least, I wish the snare was buried in the mix a bit more. Besides that, I love the bass. It's very heavy, and it's just a taste of the sound of the rest of the album (EDITING NOTE: more for the first half than the second). Normally, I'd say these vocals and instrumental melodies are some of the best on the album, but I don't think that applies here. Yes, there are a few catchy parts on this one, but there is a reason it wasn't one of the many hits that came from Anti. That isn't necessarily a knock to this song though, because the highs on this album are unforgettable. This is a good song, but unfortunately it kind of gets overshadowed by the rest of the project because it's somewhat stale. Still, Rihanna and SZA work really well together and I hope they collaborate again soon.


 


Deep bass and lush synths are carefully chaotic on this one. It's only about a minute long, so it's some kind of interlude. It's a good one though. There are no drums (which I consider a good thing after the last track). It's like a cool down after the strong opening track. It feels like a portal into the rest of this album. I also love how she doesn't waste any time getting to her point as the track immediately opens with her singing the line "I'd rather be smoking weed whenever we breathe". It's a good hook for the track. I don't know who James is, but he is a lucky man because apparently those two would be kissing a lot. This is kind of a prelude to the next track (which might still be about James?), but it also hits on one of this album's main themes: desire, lust, etc. It sort of juxtaposes the first track about a desire for detatchment. This binary is what I see to be the main thread that runs across Anti, though I wouldn't consider it a concept album or anything. (EDITING NOTE: I've actually kind of seen a concept now. This is a love story. Rihanna matures from the beginning to the end on this. She starts at this point in the album wanting to detach from feelings, yes, but it's because she's afraid of love. It's not obvious yet, but it works its way there. You'll see.)


 


Alright, here we go! This track is awesome. It has this loud electric guitar on a loop. I wouldn't normally like that, but there is so much going on around it that compliments it so well. This includes a static sound that goes around the headphones (I think it's actually hi-hats pitched up and down). Plus, the guitar isn't going throughout the whole song. It just comes in for major impact in the chorus where Rihanna matches the melody for some amazing layered vocals. The deep synth adds an element of emotion too. In fact, that's a statement I could make across the album for the most part. She combines R&B with pop and a kind of electronic music. It's a really cool style that just sounds big and works perfectly with Rihanna's voice. She's singing about what seems to me to be a toxic relationship. They argue, break up, make up through sex (or something of the sort), get back together, and probably do it all over again. I don't exactly love the message here because it seems like she's taking the position that the sex is so good that it's worth the arguing. In the past, I might have seen the reason in that, but that's just not something I can get behind now. I'm not here to judge morals though, I'm just here for the music, and this song slaps.



 


No. That's it.



Okay fine I'll actually say something about "Work". This song is horrible. The chorus is repetetive and more annoying than people who don't use their turn signals (if that's you, do better). She sounds like she's whining or mocking someone like a little kid or something. Like, it just sounds like "bleh bleh bleh bleh bleh". The beat is just some basic fake latin upbeat thing that doesn't change pretty much the whole time. It's awful...and then Drake comes in. Do I even really need to say anything here? He does his stupid singing thing that he does all over Honestly, Nevermind (I can't believe I'm mentioning this album again—don't listen to it). He's barely on beat. His voice doesn't work with Rihanna's. Oh and this thing is 3.5 minutes long for no reason. I hated every second of it. There really is nothing redeemable about this trash and it shouldn't have made the album. It's truly a shame that the last track and the next one had to be split up by this horrible (but commercially successful) attempt at a pop hit. I forgot about this when I went to review this album, and I hope I never have to hear it again.



 


Thank god we've moved on. This song is amazing. Not sure if everyone appreciates this as much as other songs on this album, so it's in the running for my dark horse (but I think I have a better one for that later). It's got a 3/4 (or 6/8) time signature that flows really well. It gives it a certain powerful vibe. The low piano keys and thick synths make me feel like I'm in a cowboy movie where there are also robots. It doesn't make sense, but it does. This track will make your speakers shake. It's one you want to play loud. It's so good! Rihanna is fairly self-aware with her lyrics as she's singing about running away with a guy (metaphorically..I guess it might be literal but I doubt it). The "desparado" is the guy she's singing to (James?), and she's saying that she wants the same thing as him: to not commit to love but also not be alone. Either these two characters are in a relationship with each other, or they are in their own separate relationships already. Either way, she wants to quit pretending to enjoy being in a real relationship. She doesn't necessarily want to abandon this "desparado" though and suggests they essentially break free together. It's almost paradoxical, but just almost. She continues to be skeptical of love, and I think that's what she's trying to express with this album (at least so far).



 

6. "Woo"


At least this song fits sonically and thematically. It's got that heavy, distorted synth and bass going on. Unfortunately, the main melody is an electric synth or guitar sound that pretty much just hits on every downbeat throughout the whole song. It can get pretty old and it doesn't help that the song is four minutes long. The drums are pretty bare too. It relies on Rihanna and Travis Scott's distorted vocals to carry the track. They honestly do a better job than I expected, but I'm not sure if it makes up for the cons of the song. Travis Scott is also just doing the "woo"s and saying "yeah" sometimes. Narratively, it's pretty cut and dry here with Rihanna singing about wanting the intimacy with a dude without the commitment or connection part, and she tells him to let her know when he's ready too. Yea, it lines up. Nothing crazy here, but the distortion makes it sound pretty dark. Compared to the rest of the songs on this project, I'd say this one is lackluster.


 


Whatever you think this song is about, you're probably right. There's nothing deep going on here conceptually. The appeal of this song is the damn instrumental. There's a pulsating, swinging synth sound that runs through the track. That sound is combined with some really heavy bass and a chopped up, melodic vocal sample for the chorus (among other sounds, I'm sure). Mustard (formerly known as DJ Mustard) did the production here, and it sounds absolutely stunning. Not to mention the obscure but well-fit vocals of Rihanna herself. There's a reason this one blew up. It's pretty euphoric with the electronic noises and a bass that'll tip your car over. The melodies are catchy too, so you'll find yourself humming it while you're doing the dishes or something.



 


SEX SEX SEX ... now that I have your attention, this song is about sex. There's like ten words in this song (I'm exaggerating but still) and she isn't exactly holding back. It's almost like permission. She's giving her consent here, which is actually one of the more responsible ideas touched on so far on the album (no pun intended). We got some more heavy bass and cool synth keys going on to create a slow, smooth, and sensual atmosphere. Again, there really isn't anything deep in this track. At least, it isn't as deep as...nevermind. ANYWAY, it's good enough but it isn't blowing me away...well I walked into that one.


 


In case you were unaware, this is a cover of Tame Impala's (don't go to their website, it won't load) "New Person, Same Old Mistakes". That being said, it could be argued that Rihanna's version is better. Yea, I said it (I know, I know). I'm not here to compare, I'm just saying it could be argued. This version, on its own, is amazing. It's got the album's signature synth bass and keys with Rihanna's vocals plastered in reverb and flying around like the Wicked Witch's monkeys (shoutout Wizard of Oz). It's controlled chaos, and it sounds delightful. This song is one of the fuller ones on the project, leaving no empty spaces uncovered. It's 6.5 minutes long, but it doesn't really feel like it. It does feel long (because of the repetitive melody), but not that long (it is a really good melody, and it switches up enough in the bridge). Lyrically, this might be the most complex on the project, and that's kind of sad (because it's a cover). However, it fits the theme very well. It's the first time where she seems to be self-reflective about her choices. She's coming off as struggling to come to grips with everything she's been singing about thus far in the project. It's a sign of maturity for her that I'm happy to see at this point. She isn't exactly saying she regrets her choices or anything, but she is taking a step back to acknowledge that she may have been making some mistakes. This is one of the better songs on the album, but it isn't an original Rihanna song, so ehhhhhhhhh...



 


A nice, soft break after the intensity of the last track. This one is actually quite different from the others in that it features an acoustic guitar and (what sounds like) acoustic percussion. Whether they are live or programmed doesn't matter (I think the guitar is live, but I'm not sure about the drums). It all comes together with her background and lead vocals to create a stunning emotional track. Rihanna has taken a step forward from the last song and is realizing she might actually be feeling something again (the L word perhaps?). Up until this point, she's been rejecting and denying herself the oppurtunity to have a real connection with somebody and possibly enter a relationship. It's very sweet, both sonically and conceptually. A little after the 3.5 min mark, there's an uptick in the track's density. It goes from a more lowkey vibe to something more upbeat. It isn't faster, but it feels more powerful. It's like the feelling you get when your heart starts beating quicker (but in a good way). I can't forget about the very end of this one either because it literally slows down and does so seamlessly. I also think it might be changing keys slightly at the same time, but I'm not sure about that. Speaking from experience, I know how difficult it is to end a song. Do you fade it out? Do you do a hard cut-off? Or go into a skit or something (my personal favorite)? Slowing down to a near crawl is a unique and interesting way to end a track, an often overlooked skill in my opinion.

I'll put it out there now that this has got to be my dark horse. I was actually pretty indifferent toward "Never Ending" until doing this review, but the more I hear it, the more I love it. There is a lot of variety in the beat. I'm a fan of the acoustic instrumentation as it works as a breather on this heavy-sounding tracklist. Rihanna's vocals are beautiful and you can hear the emotion behind her performance. It's also catchy. This is a track I could listen to ten times in a row and love it even more the eleventh time (I'm pretty sure I literally did that).



 


Awesome. This song is awesome. Rihanna's basically accepting the fact that she's in love. It's a realization. She's matured across this album to be okay with actually feeling things. Instrumentally, we've got a sick organ and some electric guitar strumming and riding the quarter notes. The drums go on a straight quarter note pattern as well, following along with the second use of a 3/4 time signature on the album. Contrary to "Desparado" though, this track is very light and feel-good. It definitely isn't light-hearted though. "And babe, I'm fist-fighting with fire just to get close to you" is a great line that sticks out because of how it switches from the melody and flow of the verses. It's also, in my opinion, one of the best lines on the album. This is of course because of what I just mentioned, but also because it holds a lot of emotional weight behind it. This is how she expresses coming to the logical conclusion that she's in love. Clearly, you can't fist-fight a fire. You'll lose every time. But she's doing it anyway, and it's only to get near this person she's in love with (James?). Oh yea, and she's singing her ass off. The vocal range she achieves on this song is astounding, and I think that's why this was my favorite Rihanna song ever going into this review. And after reviewing it, I can't say for sure that I have a different take.



 


Immediately following that track is a drunk love ballad, also in 3/4 time. You ever get drunk and just start telling everyone you love them? This is kind of like that, but she is just thinking about one person (James?). She wants to say everything that's on her mind. I like the line "I know I could be more creative, and come up with poetic lines. But I'm turnt up upstairs and I love you is the only thing that's in my mind" because it's something one would actually feel if they were an intoxicated artist...not that I would know. The instruments on here sound interesting. It's fairly simple in the fact that I think it's just an electric guitar, bass guitar, piano, drums, and an electric violin (most likely, one or more of these sounds come from a sample). I'm pretty sure there are a ton of effects on these sounds, but I want to give special attention to that violin. THAT VIOLIN. It sounds soooo cool, and it plays some really interesting melodies without overstaying its welcome. In fact, the whole track kind of fits that description. It's short, running at about two minutes long, and passionate. Rihanna is absolutely belting these lyrics as if she doesn't give a shit what they sound like. Obviously, they sound amazing, and that's partly due to the pure emotion she's putting into her performance. Also, I think it's funny that the last line of the song is "But I'm drunk instead with a full ashtray, with a little bit too much to say" before she just stops singing altogether. It's almost like she realized she would never shut up if she doesn't stop at that very moment. I know that when I have been drinking, and I realize that I'm talking too much, I immediately try to stop talking as if that's a good solution. I don't know if she was going for that or not, but it's relatable. Me too Rihanna.


 


I know I use the term "ballad" a lot (way more than is probably accurate), but this one is definitely a ballad. Through and through. And it's actually pretty bittersweet. It's still a love song, but a very sad one. I'll talk briefly about the music part before I go into it though. Mainly, it's just a piano and what sounds like an upright bass. Some soft strings are also added for effect in the second half of the song. That's it though. It really allows Rihanna to shine as a vocalist. Her singing isn't really anything spectacular though. The biggest draw of this track to me is really what she's singing about (and now we can get into it). This is Rihanna having fully accepted that she is in love. However, she's noticing that her partner is not exactly on the same page. There's something that's holding him back from loving her back (damnit James). A past relationship perhaps. She's trying to help him work through it by showing him real love, but ultimately it's up to him to let it go and allow himself to love. She wants to be close to him, but he's not letting himself be close to her. I can relate to this, sadly. In fact, I have seen both sides of this coin. I've been the one that is ready for a relationship with someone that was not ready. I wanted to help, but that's not up to me. Mostly though, I've been the other guy. I've historically been one to bottle up my emotions and try to act as if I'm good to go, even when I'm not. As I've grown up, I've allowed myself more time to process things, but that doesn't exactly equate to moving past them. I've also never been very good at letting people help me. Therefore, this track kind of cut deep.


 

Overall


Alright, what all do I have to say about this album? I'll just flat out say I like this album. I think it's good. For too many songs on here though, I had to say "it's good, but...", meaning a lot of the good got brought down by the bad. Also, I cannot omit my feelings about "Work". It definitely will affect the score, as much as that hurts me to say. In fact, I think the first half of the album in general is not as good as the second. I guess I prefer the more mature side of Rihanna. The instrumentals of the first half are thicker and more electronic while the second half seems to thin out a little bit. Somehow, it all sounds somewhat consistent though. I think it's Rihanna herself that's holding it all together because she kills just about every performance on this thing. Thematically, it's more consistent than I originally thought. It's a story (not an actual story, but more of a perspective journey) about learning how to love for real. Well, maybe not how to love, but more like how to allow yourself to feel love. Unfortunately, there isn't a whole lot of emotional depth in some of these songs (especially in the first half), but there's a reason for that (to learn to love, you have to start somewhere. She starts by rejecting it and wanting unconditional sex). Those ideas were just not as interesting to me. I did like the overall production of the album. It was mixed very well and had a lot of unique sounds that worked well together. I appreciate the sonic risks taken. I really hope Rihanna returns to making music soon because I can only see the next one improving on all the good things about Anti.


6.4/10


 

If you've read my review, I assume you have already heard Anti, so I want to hear what you think. What'd I miss? Did I tear apart your favorite song? Or give too much credit to one that doesn't deserve it? Any questions or comments? I'd love to respond. Feel free to drop review requests too! I will strongly consider them.


Peace and love.


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Guest
Sep 13, 2022

Do CTRL next

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Swolst
Swolst
Sep 14, 2022
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I'll add it to the list right now!

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