The cover of Usher’s latest LP, “Hard II Love,” features a Grecian bust of the singer-songwriter. However, it’s not by any means a perfectly-crafted sculpture. It’s weathered-down with several pieces either tarnished or broken off completely.
Despite obvious influence on the artwork from Jay-Z’s “Magna Carta ... Holy Grail,” the album’s cover still perfectly embodies the no-filter, brooding feel of the record inside of it. It’s a type of beauty that only comes from hard labor — rugged hands, sweaty brows and wrinkled skin.
“Hard II Love” is Usher at his most vulnerable and soulful. In a world where R&B has been reduced to some weird blend of hip-hop and occasional falsetto vocals, we have artists like Usher who bring it back to its roots while also managing to cater to a modern audience.
Considering how unfathomably commonplace “Looking 4 Myself” and “Versus” were, this LP is a blessing. Usher not only steps up his game lyrically but also provides some of the best beats all year on songs like “Bump,” “No Limit” and “Tell Me.”
For the last few years, Usher has been known as a sort of optimistic-sounding R&B artist, with songs like “O.M.G.” and other singles in his recent repertoire. Not anymore.
“I fucked up / I’m man enough to admit it.” Whoa. That’s how “Hard II Love” opens.
Who would have expected that?
It’s clear Usher really prioritized instrumentation as much as his vocals and lyrics on this LP. Most of these songs would be able to easily stand on their own as instrumentals, especially “Downtime,” which has an eerie Cliff Martinez vibe to it.
Musically, Usher seems to have opened himself to other genres as well. “Champion,” which was featured in the recent sports movie “Hands of Stone,” has a strong Panamanian influence that is helped by Latin pop singer Rubén Blades.
Of course, in traditional Usher fashion, Blades isn’t the only featured guest on this LP. Lil Jon gives one of his most impressive performances in years on “Bump,” while Future and Young Thug remind us just how dull and overrated they are on “Rivals” and “No Limit” respectively.
But their general lackluster personas are beautifully reimbursed with one of the best songs of Usher’s career, “Tell Me.”
When I first saw this track was eight-and-a-half minutes long, I groaned. Songs exceeding five minutes in length are for heavy metal and avant-garde performers, not pop stars. I was under the impression this would be Usher trying to be unique and simply failing at it.
Fortunately, I was wrong. Usher’s percussion rhythm has a Swedish electronic vibe to it like something from Fever Ray’s self-titled debut album. Blend that with Usher’s lovely falsetto and newfound grimness, and you have a track worthy of the utmost praise.
Not only is it the sexiest song on “Hard II Love,” but it is also the most ingenious performance on any Usher track.
“Hard II Love” is a record that, like the Grecian art it so boldly compares itself to, looks to the past, present and future in equal lights. Perhaps too it will stand just as boldly after its 2,000-year reign.
Austin Faulds
afaulds@indiana.edu
@a_faulds9615
