November 24th, 2012 
Grace Duffy 
Artist: Rihanna
Album: Unapologetic
Genre: Pop/r’n’b/dance
Label: Def Jam
Twas a wintry night much like this one, around one year ago, that Rihanna first crossed my critical path. The results were not what one would call harmonious. I really rather hated Talk That Talk, and in the same week a learned colleague here at Under the Gun pissed off every teenage Twihard in sight with a less than favourable review of the first part of Breaking Dawn, I poured salt in the wounds by dismissing Rihanna’s album as an abomination. Hmm. How things can change in a year. Not only did another learned colleague find a few bits and pieces worth celebrating in the second Breaking Dawn, but I’ve listened to a Rihanna album and I – brace yourself – actually…kind of…like it? I mean, you may take these words with a pinch of salt as the dreaded Chris Brown resurfaces on here and there’s plenty of the same tedium that marred her previous release. But all things considered, Unapologetic has plenty going for it.
Musically, the album offers greater range, diversity, and quality. It uses many of the sounds for which she’s well known, but dallies in other styles also. The songs are unpredictable and moody, veering wildly from something ruthlessly club to something poppy and grounded. Organic instruments break through the effects wave here and there, infusing the album with a touch of grounded sentiment. You certainly won’t be wanting for top-tapping anthems, but you’ll find the odd spot of 80s and 90s-influenced balladry here too. In this sense, Unapologetic is a fitting title as Rihanna profanes her way through the opening track and several more, while showing fearlessness in her pursuit of earthy anthems. Her vocals don’t always convince and she can at times sound laconic or even lazy, but the production is so savvy you’ll barely notice it.
“Fresh Off the Runway” sets the tone for the album. It’s crass and full of shrill, shrieking synth and vocal vulgarities, yet there’s something crudely appealing about it. As an opener, it’s bold and uncompromising and perfectly sums up the record’s ethos in that it is blithely unconcerned with anyone’s opinion of it. It’s followed by “Diamonds,” which by now should be readily familiar. It’s a stark change from the opening track as suddenly Rihanna seems to come over all loving. There’s a vibrant pop sensibility to the romanticised, earnest musical tones of this track. Her vocal performance is caring and restrained; entirely at odds with her traditionally nasal, dissonant approach. The bracing extravagance of this track and its unexpected warmth is an early indicator of Rihanna’s approach to the softer moments of Unapologetic. She embraces a subtle, expansive style that is often far more arresting than her hedonistic moments. Take, for example, “What Now.” It has its watery moments, but the instrumentation and solid vocals give it a clear, rejuvenated vibe. It morphs from the textured ballad of a pop record to something a bit more dynamic and ends with the sudden appearance of a guitar solo, shooting electricity back through its innards.
Rihanna’s collaborations on this album are largely uninspiring however. Eminem is the only decent thing on “Numb,” while neither she nor Future can do much with the stubbornly-titled “Loveeeee Song.” The flavourless, recycled “Nobody’s Business” has, well, Chris Brown. It’s a relic from a 90s boyband, which makes it fairly standard for him, and the lyrics make me faintly uncomfortable considering this pairing’s decidedly dodgy past.
The one collaboration that really succeeds turns out to be one of the album’s two proper standouts. It’s likely more down to David Guetta than Rihanna but “Right Now” is catchy, relentless, and masterfully put together. Its slick, rhythmic notes give the singer more breathing space and make her sound comfortable and energetic. “Jump” has isolated moments of excellence that may yet be perfected with a remix, but the other beauty on here is “Love Without Tragedy/Mother Mary.” A two-parter, it’s genuinely surprising in the breadth of its vulnerability and sensitivity. Rihanna has never sounded this personal before, working her way through a sumptuously-woven ballad with clarity and sincerity. The glamorous opening section is redolent of 80s sophistication, before it evolves into something more concentrated and intensive. This second half is noticeably different in tone – alluring, exposed, introspective, and quite touchingly earnest. It has a magic, almost hypnotic feel and suggests there’s much more than meets the eye with this artist. She should embrace this side of herself more often, as it has genuine quality and heart and a beautifully realised sound.
It’s telling what a difference a year makes. Considering how soon this album has arrived after her previous one, it bears no hallmarks of being rushed and actually sounds far more comprehensive and thought out. Unapologetic isn’t exactly musical gold but it is interesting and enjoyable, while the rare moment of openness and probing emotional honesty that is “Love Without Tragedy/Mother Mary” provides Rihanna with something almost resembling excellence.
SCORE: 7/10
Review written by Grace Duffy
- David Fincher’s ‘Gone Girl’ Gets An Icy New Trailer - July 7, 2014
- SCENE & HEARD: ‘Jersey Boys’ - June 27, 2014
- MOVIE REVIEW: ‘Snowpiercer’ - June 21, 2014
Posted in 
Tags: 
I absolutely agree, I wish there was more of “Love Without Tragedy/Mother Mary.” It was the first I downloaded and leaves me wanting and hating that she didn’t concentrate more on this side of her music.