A 20-track album (!) never felt so breezy. Trigga isn’t as cohesive as 2009’s Ready, but it’s a sublime, soulful convergence of the sonic minimalism and oil-slicked synths of today’s hip-hop and R&B (courtesy, mostly, of Young Thug and Migos-famous producer Dun Deal), and its sound provides a charismatic contrast to its almost anhedonic pursuit of pleasure. Kelly, absent the dimpled wattage of Usher, and lacking Brown’s choreography. Songz has a graceful, minty, multi-octave range and, despite his consistency, a reputation for being R&B’s man in the wings: too wholesome to be R. He even opens the album with a wink at a perennial black Twitter trending topic, sweetly cooing through ostensible metaphors for analingus on “Cake.” “Baby this might sound rude,” he demurs at first, then, “Go on lay your body down all over my plate, once I blow my candles out put it in my face.” Hardly the Marquis de Sade, but Songz’s bedroom rhetoric illuminates possibilities beyond the shrewd masculinity and gendered sexuality of mainstream hip-hop and R&B. It’s a beautiful time to be in the club.īut where Bieber and Brown lack subtlety and Drake and his ilk are limited singers, Trigga finds Songz in peak form and right on time.

The genres have always had a certain lugubrious energy in common, but now, more than ever, rappers are dabbling in 3D songwriting and R&B singers are borrowing, or creating, cadences that channel popular hip-hop. Ty Dolla $ign, Future, Justin Bieber, Drake, Chris Brown, The Weeknd: In the two years since Songz’s first chart-topping album, Chapter V, a wave of mutable rap and R&B heartthrobs has crested. With his sixth album Trigga, Trey Songz returns, ribald and ready, to swat middling crooners out of his lane.

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