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'Channel Orange' almost feels like a midnight car ride with Frank Ocean, him sitting on the front seat delivering breathtaking observations. Mr. Ocean takes us on a tour around gloomy Southern California, pointing towards L.A., the neighborhood stigmatized by excess and misery. The focus of these observations shifts deeper into allegorical life stories or lifelong dreams, which excel in both depth and variety. The rich narrative collection includes lamentation on prematurely having a baby in 'Sierra Leone' or bittersweet satire about 'Super Rich kids ', song concerning wealthy west coast teenagers, branding them as having loose ends and only fake friends. Each storyline introduces unbelievably realistic, made-to-care, individual honestly presented by the narrator, Frank. The instrumental section follows the idea of a grim celebration of life, by fusing R'n'b with neo-soul and jazz fundamentals, sometimes incorporating experimental rock elements. Vocally, Frank is not hesitant to skip to different alter egos between songs, each of them expressing emotions distinctively but each at an equally high level. Although, this 50-plus minute thrill ride mainly takes place in the City of Angels, however we visit other exotic places, at least in our imagination.
In 'Pyramids', the potential for fantasy is present in every step made by the epic poet, the setting being beyond modern America in mystique glistening sand dunes of the Old Empire. This 10-minute grandiose techno lullaby about Ancient Queen Cleopatra is set between several time frames, which unwind monumental tale of the rise and fall of once glorious empire as metaphor for the continuous moral corruption of individual. The whole plot ends with a chillingly twisted conclusion, revealing horrifying example of human degradation. In the end, the dreamy psychedelic guitar solo guides you towards the passage from the resting place of both archaic and modern Cleopatra, both of whom eventually end up with complete loss of dignity.
After the brief fantasizing moment we return back to the gritty reality. The unbearable loudness of shaking consciousness at breaking point. The starting motif of non-judgmental tragic ballad about drug addict 'Crack Rock', captures the mood brilliantly enough to print mark in the listener's mind. Frank's breathless display appears to represent the loss of all the hope and sadness brought by the destructive attitude of the addict and his inevitable fate. The dynamic drum-led tempo serves as a contrast to the sorrowful voice, creating schizophrenic emotions, the second one characterized by the anger with an eventual end of his brother. The troublemaker is eventually murdered, when Frank avenges his brother's death by following the quest to help his community.
Later, as the night moves on, the storytelling maestro gets more comfortable in his seat, minimizing the shyness, revealing some of his most intimate secrets. The heartbreaking unrequited love in 'Pink Matter' and especially in the soulful peak 'Bad Religion', are the great boulders he gets of his shoulders. In Bad Religion, he accuses Christian religion for bringing him to his knees for his sexual orientation. With minimalistic arrangements, Frank's voice and the string section are the prime emotional sources.
After some of the most unexpected but liberating revelations it seems Frank finally tamed all his demons and found a tranquil corner of his mind in 'Forrest Gump', but his sudden departure from the roaming car into the Orange lights on the famous empty streets, leaves us eager to hear more from his captivating repertoire.
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