It’s been a decade since American singer-songwriter Frank Ocean released Nostalgia, Ultra on Tumblr. Although Frank’s original post was deleted, his debut mixtape remains a hidden gem, as singles “Novacane” and “Swim Good” are available on streaming platforms. Despite this, Nostalgia, Ultra has proven to be a solid foundation for Frank’s succeeding work, exhibiting his ability to immerse listeners as he reminisces on the past and comes to terms with the present.
Frank’s music is nostalgic in every sense of the word. He sets Nostalgia, Ultra’s scene through pop culture references. For instance, “Lovecrimes” features Nicole Kidman’s monologue from the Stanley Kubrick film Eyes Wide Shut (1999), and “Swim Good” mentions cult favorites Ghost (1990) and Dirty Dancing (1987).
His straightforward means of evoking such yearning for the past is also evident in his remakes, particularly in “Strawberry Swing.” He uses Coldplay’s symbol for childhood and innocence to reminisce on his own carefree days, and contrasts it with his prediction of the world’s apocalyptic ending. The song fades out as alarm blares effectively kill Frank’s dream of a simpler time.
However, Frank’s take on nostalgia is far from literal. His distinct narration is a key factor in inducing such emotion. “Strawberry Swing” is followed by “Novacane,” where present-day Frank plays an unreliable narrator as his high fizzles out. He recounts his mind-numbing adventures with a porn star/wannabe dentist in a way that conveys longing, just as the previous song did. Only this time, he doesn’t seek the comfort of childhood, but rather the ability to feel something. He makes another reference to the Kubrick film with the line “Been tryna film pleasure with my eyes wide shut/But it keeps on movin’,” which merely builds on the hedonistic picture.
Frank’s songs are nostalgic because they feel like they’re written from memory, especially when he emphasizes details of importance to him. His love for cars is reflected in the meaning they hold; whether to convey status, such as the Jaguar on “Super Rich Kids,” or sentimental value, like his family’s 1991 Acura Legend on “Nights.”
On “White Ferrari,” the car’s color signifies the innocence of his relationship. He sneaks in a line from the Beatles’ “Here, There and Everywhere” to highlight how he’d treasure his lover forever, just as he does his cars. His worldbuilding enables listeners to experience life from his perspective. This kindles sentimentality for a moment that they weren’t part of, at least, not until they’ve heard his music.
Frank’s “Ultra,” which he attributes to the modern sonics he uses on the mixtape, adds to this effect. Its pinnacle is in his most recent album, Blonde, as he experiments with voice pitching to indicate adolescence and compliment his inclusion of conflicting perspectives on numerous tracks. The most notable being “Nikes,” “Ivy,” and “Self Control.” His robotic, high pitched vocals on “Self Control” sound nothing like a teenager’s, and yet succeed in bringing the listener back to the youthful summer he recalls.
While mixtapes are known for their personal touch due to their independent nature, all of Frank’s work thus far has displayed vulnerability in his self-reflection. He tells stories of internal conflict, from the loss of a father figure on “There Will Be Tears,” to the desensitizing pursuit of pleasure on “Novacane,” which he revisits on Channel Orange’s “Pink Matter.” Motifs first introduced on his mixtape evolve as he grows, and he employs them in latter songs that explicitly discuss his queerness. This is exemplified in his use of religion to denote sexuality, which makes for a satisfying reveal.
Whereas Nostalgia, Ultra recalls Adam and Eve’s escapades in the Garden of Eden, Frank likens his one-sided crush on a man to a cult’s devotion on Channel Orange. Duality, another motif alluding to his sexuality, becomes less implicit in Frank’s later releases. It is first explored on “We All Try,” a song where he proclaims that marriage is between love and love. While he revisits this theme in Blonde, he makes it glaringly obvious on “Chanel,” his first solo release since the album. He sings “My guy pretty like a girl/And he got fight stories to tell/I see both sides like Chanel.” If anything, it is clear that Frank has confided in his audience even more throughout the duration of his career.Ultimately, Nostalgia, Ultra marks the beginning of Frank’s journey as a storyteller. Since then, his music has been full of pop culture easter eggs, social commentary, and internal conflict, all disarmingly heartfelt. He makes music that’s intimate to the point of being intrusive, like reading someone else’s diary (or in this case, Tumblr blog), but also ambiguous enough for you to mistake the pages as your own.