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

I'm your host Cole Kishna. Today we continue our serialize analysis of Blond by Frank Ocean. On our last episode we discussed

the album's opening track Nike's. There we heard a highly impressionistic

expression of Frank's drug-induced experiences loosely centered around an ambivalent love interest.

We also heard experimentation in the song's production, from the pitched-up chipmunk-style vocals

of the song's first half to the intimate arpecheated guitar pluckings that ground the second half.

These production techniques, specifically the pitched up vocals and the use of guitar,

continue as Blond progresses to its second track, the subject of today's episode, Ivy.

I thought that I was dreaming when you said you love me.

The start of nothing, I had no chance to prepare, I couldn't see you coming.

The start of nothing, ooh, I could hate you now is quite all right to hate me now.

Ivy was written by Frank Ocean and Malay. The origins of the song can be traced as far back as June 2013,

as Frank performed an early rendition of Ivy at a concert in Munich. Aye, whoa, I could hit you now.

It's quite a ride to hit you now.

When we both know that keep down, you think still deep down is good.

Yes, you broke my heart next week,

I probably feel better why the weekend still remember had you

know it's the screaming my name yes the family does good.

It's all good,

it's all good, it's all good, yeah, Of course aside from Frank's vocals, this early version sounds nothing like what exists on blonde.

The album version of the song was produced by

Ocean, Amos Keith, Jamie X, and Roast on Botmanglish. Botmonglish is best known for his work in the band

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