Trey Songz"s recent six-song Intermission EP, a stopgate to tide fans over until Trigga: Reloaded this summer, go what Trey does best: administer a no-skips-required sex playlist, or at the very least an escapist fantasy because that zoning out at her desk.

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Last year’s Trigga arrived at an interesting point in Trey Songz’ practically decade-long career. Mr. Steal your Girl has actually never been in danger of fall off, however on his 6th album, he appeared to have more competition than ever before as the dude-R&B ball over-brewed through stylized, certain points of view. Ty Dolla $ign had actually officially arrived, v "Or Nah" creeping increase the warm 100 and also "Paranoid" quiet in radio rotation; chris Brown was somehow bigger 보다 ever, riding high off addictive-but-repugnant single "Loyal"; Jeremih had gained his 2nd wind, steadily coming to be rap’s favourite guest vocalist, and also PARTYNEXTDOOR, the Weeknd, and a organization of imitators to be occupying the moody roadway left open as Drake drifted far from R&B.

As his less firmly created peers have dipped their toes into the "alt-R&B" swimming pool or flirted v EDM to remain relevant, Trey’s allude of view has actually remained trendy however traditional, his generation’s best candidate because that R. Kelly’s torch-bearer; and while he is subtly advanced over the years, gracefully embracing hip-hop and also R&B’s increasing cross-pollination, he there is no made too plenty of pronounced stylistic shifts. He can lack the crossover very nice or crucial darling standing of, say, The-Dream or the Weeknd, yet his singles discography is unimpeachable—not to mention, he can sing any of the previously mentioned under the table.

Trigga emphatically reaffirmed Trey’s hit-making pedigree: The album spawned a whopping six singles, best among them Nicki Minaj collaboration "Touchin, Lovin". Trey and production team The Featherstones dabbled in the surefire 2014 fight strategy, "interpolate a "90s classic" (in this case, huge and Kells’ "Fuck You Tonight"), however made sure to slyly note, "If we talkin’ bout sex, girl you know I created that"—a reminder the his indelible stamp on millennial baby-making jams. Yet Trey’s alpha-male anthems have always had a little bit of a chauvinistic edge, and also "Touchin, Lovin" flourished in no small part because it allotted room for a strong female perspective together a counterpoint to the bro-y narcissism that a guy used to having his way.

If you squint, Trey’s recent six-song Intermission EP, a stopgate to tide fans end until Trigga: Reloaded this summer, does what Trey go best: provide a no-skips-required sex playlist, or at the very least an escapist fantasy for zoning the end at her desk. The satiny synths, leisurely finger-snap percussion, and evocative bass rumbles, all providing a cushion because that Trey’s velvety tenor, space the aural tantamount of scattered climbed petals and also lit candles. But the fantasy quickly fades: practically every track doubles down on the #meninist platitudes and reductive misogyny more than anything he’s released to date. Intermission feels favor a conceptual homage to pick-up artist bible The Game.

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"Don’t Play" start seductively enough, v its spacious, Jeremih-esque atmospherics, however quickly devolves into negging top top wax. "You obtained my time, girl, nothing you disrespect it," that huffs, right concealing his impatience through his companion’s sex-related ambivalence. "Good girls vs negative Girls" has Trigga reducing fifty percent the earth’s population to one Archie Comics trope, then wondering why he can not seem to find definition within this sad binary.

"Boss", maybe unwittingly, gives the EP’s only real moment of vulnerability. The track borrows a feeling from Drake circa 2010 (a time once Drizzy needed Trey’s co-sign to obtain a foot up, strange as that may seem now), not just in mood and also cadence, however in the same protective paranoia, obsessed through the idea the women space attracted by his status and also adjusting his expectations accordingly. "I don’t judge her, don’t judge her/ but I can never love her/ ‘Cause I’m simply an entertainer/ and also soon she gon’ crap another," that sings, a riff on Drake"s guarded "Miss Me" verse and a speed of context because that the neighboring callousness. Yet it quiet doesn’t make the project’s overwhelming misogyny any type of easier come swallow, sexy together the sound might be. It’s a move as perplexing together it is disappointing. Meninist flailing is because that dudes struggling to get over their destructive personalities, favor Eminem. And Intermission’s spite in the direction of women is particularly baffling considering they consist of the vast majority of his fandom. What part of The Game is that?