From Spotify Studios, this is Dissect, long-form musical analysis broken into short digestible episodes.

I'm your host Cole Kushna. Today we continue our serialized examination of Blonde by Frank Ocean. On our last

episode we examined night a sprawling ambitious song about the cyclical nature of

night and day. There we realize that not only does Knight's dramatic beat switch divide the song in two

parts, it also divides the entire album Blonde perfectly in half.

This plays into the recurring dualism presented throughout the album expressed in the contrast of childhood

versus adulthood in songs like Nike's Ivy, pink and white and knights, heaven versus hell in the song

solo and day versus night in the song Knights. We even observe

dualistic principles in the album's title Blonde versus Blonde with an E or

feminine versus masculine which may relate to Frank's dualistic sexuality.

We also found duality expressed musically as many of the tracks on Blond have contrasting musical

environments within the same song.

And so we enter now Blond's second half knowing there's ample

evidence to suggest that this side of the album will contrast with its first half.

Indeed we needn't look any further than the track that follows Knights for

confirmation, the angular

bombardment that is solo repries.

Eh, so now I'm solo that I can see under the skirt of a solo that I don't get high no more when I'm solo that I can see under the skirt of an a

solo that I don't get high no more when I'd around I'm more I should go hey

solo my cup is a roll my toe my friend

solo that I can admit

when I hear that another kid is shot by the pop, it ain't an event.

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