Drake is back with not just one album, but three.

The artist had not dropped a solo album since 2023. That changed Friday with the simultaneous release of the previously teased “ICEMAN,” as well as “MAID OF HONOUR” and “HABIBTI.” Collectively, the three LPs include 43 fresh songs across 150 minutes of new music.

Read on for the opinions of three Daily Bruin Arts writers about each of the new albums.

“ICEMAN” – 2.5 / 5

Drake’s latest flows aren’t his sharpest, but his work on “ICEMAN” is cooler than it has been in almost a decade.

Since the success of his 2016 album “Views” – which produced infectious smash hits such as “Hotline Bling” and “One Dance” – the Canadian musician has appeared to be on autopilot. Sure, in that time, the hip-hop superstar has earned 10 more No. 1 singles since “One Dance” and released a string of chart-topping albums and mixtapes, including solo smashes such as “Scorpion” as well as collaborative albums with 21 Savage and PARTYNEXTDOOR. Still, Drake’s popularity seems to have relied on the sheer volume of music he has released rather than any measurable improvement in artistic quality.

With “ICEMAN,” Drake gives his fans and critics the first full body of solo work since his widely publicized 2024 rap beef with Kendrick Lamar. The two rappers could not be more different – Drake succeeds at mass-producing large quantities of music, while Lamar’s leaner discography features several layered concept albums – but the beef further emphasized how complacent Drake has become in his recording career. After hinting at “ICEMAN” for months, the new record falls short of the hype.

Unfortunately, the majority of the album is bogged down by generic beats, and Drake’s lyrics land with an underwhelming thud. On opener “Make Them Cry,” he declares, “Been so sure of my words that I haven’t used a pencil,” but the rapper’s disappointingly dull pen game suggests more effort would have been beneficial. The 18-track project could have made for a tight, no-skip album, but instead it’s just another bloated addition to Drake’s lackluster discography.

That said, there are a handful of decent tracks that are likely to satisfy Drake’s most ardent fans. For swagger and braggadocio, “Whisper My Name” and “Make Them Pay” deliver in spades. The album’s only two collaborations – the Future and Molly Santana team-up “Ran To Atlanta” and “B’s On The Table” with 21 Savage – could be fun and playful if played in a group atmosphere. Although it is tucked on the back half of the record, the catchiest entry might be “2 Hard 4 The Radio,” which is a worthwhile future single.

Drake might try to “Make Them Remember,” but it is difficult not to remember his stronger outputs from more than a decade ago.

– Reid Sperisen

[Related: Album review: MUNA’s ‘Dancing On The Wall’ has rhythm but inconsistently hits its marks]

“MAID OF HONOUR” – 3 / 5

Drake’s “MAID OF HONOUR” isn’t a lyrically oriented album, and it doesn’t need to be – the production carries.

Three years since his last solo album, Drake has returned with an album for each year he’s been away, including “MAID OF HONOUR,” providing listeners with genres including pop, rap, dancehall and even punk. Throughout the 45-minute album, Drake tells a loose story about the emotions he is experiencing in his romantic relationship. Although there is no clear depth, the Grammy-winning artist still manages to deliver a decent LP through infectious and upbeat production.

The album starts with the fun “Hoe Phase,” which is about the pleasures and freedom of not being in a committed relationship. Throughout the song, the energy of the track builds, especially during the chorus – a sample and interpolation of the Run-D.M.C. track “It’s Like That.” However, after this strong opening track, the album runs dry with the exception of standout songs such as “True Bestie,” “Stuck” and “Q&A.”

“True Bestie,” the strongest song of the album, opens with a monologue from New Orleans-based artist HaSizzle, who builds anticipation by saying, “I need you to put me on the loudest speaker in the house or put some headphones in right now.” This transitions into a chorus from the featured artist, Iconic Savvy, before Drake enters with the main verse. On this track, Drake holds his own, avoiding the issue of being outshone by featured artists, unlike on other songs.

Throughout the 14-track album, Drake is accompanied by artists such as Central Cee, Stunna Sandy and Popcaan. The features allow “MAID OF HONOUR” to transcend various genres, serving as one of the album’s strengths. The LP also excels in production and atmosphere, creating a listening experience that encourages dancing and replay value – leaning more toward production and vibe instead of lyricism, a choice that fits the album’s intent.

Ultimately, “MAID OF HONOUR” serves as the strongest of the three albums the Canada-based artist dropped Friday. Released just in time for summer, the album is consistent with peak production and high-energy tracks meant to be danced to.

Drake has played to his strengths by prioritizing fun over wordplay, which leaves this album in “Amazing Shape.”

– Kemyron McCoy

[Related: Album review: Kacey Musgraves lassos listeners back in with fresh lyrics on ‘Middle of Nowhere’]

“HABIBTI” – 1 / 5

On arguably the weakest of the three records, Drake makes a familiar yet tragically unremarkable foray into the realm of R&B.

“HABIBTI” tells another classic, surface-level Drakeian story of charming a lover, forming an attachment, making excuses, then whining about losing her – just without the charm and care that made prior entries worthwhile. It’s his shortest full-length project to date, boasting 11 tracks across just 36 minutes. And still, it couldn’t have ended sooner.

After an out-of-place guitar ballad with “Rusty Intro,” the album continues Drake’s trend of forgettable production and even shoddier melodies. The album features the same tired chord progressions in his vocalizations and the continued use of his more recent bizarre vocal filtering, which doesn’t suit this kind of instrumental. It’s a far cry from the heights he reached on projects like “Honestly, Nevermind.” Not to mention how short the songs feel – “Classic” is the closest thing this album has to a standout, but it ends before it even gets a chance to start.

Songs like “Slap The City” or “I’m Spent” are near hits but miss the lyrical depth necessary to make them work. Eye roll-inducing lines aside, half the bars he spits are just lazy similes. Lines like “Got ex-men issues like Marvel” on “Hurrr Nor Thurrr,” or “Would you just go missin’ like milk carton?” on “I’m Spent” leave the listener questioning whether Drake ever had anything to offer.

On Apple Music, the editors’ notes add some semblance of subtext to the record. Provided under the title by The Boy himself, they read, “& other nicknames I call my dear city.” It suggests the narrative of drifting away from a long-distance relationship and still looking for a way to keep that connection is actually about loving Toronto as a city. Yet, changing the subject from a person to a city doesn’t enhance the album’s themes. Instead, it just paints the singer’s lyricism as a disappointment, not just to an individual but to an entire larger population.

The greatest honor an album like this can get is to be talked over in a car – on low volume.

– Parsa Arshi