Four years seems to be the designated amount of wait time for momentous occasions in modern society. Every four years there is a presidential election, a world cup, two Olympics, as well as other cultural affairs. This pattern of fours is hard to ignore and it would just so happen that it’s been four years since the release of Frank Ocean’s Grammy-winning studio debut, “Channel Orange.”

     For four long years expectations have been growing. People have been buying tickets to board a train of hype, fuelled by rumors and faith, without knowing where their destination lies. On Aug. 20 that train finally pulled into the station. The Rio Olympics were fun and this year’s election will be important without a doubt, but the real question is, “Was Frank Ocean’s ‘Blonde’ worth the wait?”

     While listening to “Blonde” it becomes very clear that Ocean has matured as a person and as an artist, a fact is reflected in the development of his lyrics and music. One of the most frustrating things he could’ve done was work for four years on a project that feels like a carbon copy of his previous work. Ocean puts those worries to rest on the opening track, “Nikes.” Even though this song actually being one of the record’s weakest, “Nikes” succeeds in setting the tone that “Blonde” is built on, as well as introducing Ocean’s new minimalist sound.

     “Blonde” turns away from many common principles of modern R&B and instead finds beauty in subtle production and modest instrumentals. The result is a more stripped-back, experimental sound  and its strength lies in it’s dreamy atmosphere. The lighter instrumentation allows Ocean’s powerful, emotion-laden voice to take center stage on each track.

     The track “Ivy” picks up where “Nikes” left off, continuing it’s echoing sounds and spacey flavor with the use of meandering guitar sounds. Ocean’s knack for unique melody is on full display while he croons about a romance he has outgrown.

     While “Blonde’s” production is without a doubt subdued, it never seems lazy. Every sound feels deliberate, important to the narrative of each song. Each song feels beautiful in its own way, whether it’s the graceful string arrangements on “Siegfried” or the long gospel-themed organ chords in “Godspeed.” Palettes range from the ambient backing on “White Ferrari” to the wild and disorienting sounds on “Pretty Sweet.”   

     Even the contributions from featured artists are understated for the most part. Beyonce contributes soft, angelic vocal harmonies on the track “Pink + White” and rapper Andre 3000 delivers an intense, head spinning verse on the short “Solo (Reprise).”

     Most of “Blonde’s” contributions from featured artists come from behind the scenes. These additions range from work by acclaimed producers Pharrell, James Blake and Jamie Foxx, to lyrical interpolations, references and samples of artists such as Elliot Smith, Stevie Wonder and even The Beatles.

     Though “Blonde” may feature a laundry list of talented contributors, it still manages to feel like an intensely personal album. Lyrically, Ocean bares all, revealing his thoughts and feelings on a variety of rather intimate topics. “Blonde” is at it’s best when Ocean is unapologetically raw, giving listeners a window into his life. Ocean tackles all of the classics including love, loneliness, fame, money, drugs and nostalgia, all without feeling cliché or stale.

     The low points of the record are relatively few and far between, mainly coming in the form of “skits.” The first skit features the nasally voice of Ocean’s “mom” hypocritically giving advice on how to “be yourself,” while the second features an incredibly French story in which social media kills a man’s romance. While both manage to fit tonally and thematically, both drag on a bit too long.

     In several instances, “Blonde” may just be too modest for many casual listeners. Ocean doesn’t rely on catchy repetitive choruses or overly ornate beats and as a result, plenty of listeners may not find this record engaging enough for them. Those who are in the right mindset and who are patient are likely to find “Blonde’s” avant-garde take on modern pop the most rewarding.

Hopefully listeners don’t have to wait four more years for another one.