After the release of “Channel Orange” in July of 2012, Frank Ocean became a household name, with his dynamic and versatile project appealing to the public instantaneously. His open sexuality was intriguing and his lyrics are arguably much deeper than other offerings. So naturally fans began to speculate when another project would grace their ears. Hopefully no one has held their breath.

After a series of delays, misleading social media announcements and a visual album (“Endless”), Ocean’s sophomore effort “Blonde” became available via streaming services and iTunes.

In many ways a departure from his heavily pop-influenced first album, “Blonde” comes off more as a series of spoken word poetry pieces set to minimalistic beats. In the opening track, “Nikes,” low synths and a snare lead to auto-tuned vocals that sound as if Louis Armstrong had his voice sped up for a role in the latest Chipmunks flick (a surprisingly common device on the rap/R&B scene). His vocals are raspy at times and are unsettling. And his lyrical prowess is overpowering. “Nikes” is a fitting opener, telling the listener that there is going to be more than just surface-level entertainment in this album. “We’re not in love but I’ll make love to you,” Ocean croons towards the end of the track, signaling his notable relatability is once again on display.

The third track on his album, and easily the best, comes in the form of “Pink + White.” The only conventional song on the album, “Pink + White” benefits from a sound that echoes Leon Bridges and a soothing melody. The track also makes one aware of a curious stylistic choice Ocean has decided on his track listing. Despite having an assist from Beyoncé, an individual whose popularity makes nearly every song a hit, her name is left out of the credits, as is the likes of Kendrick Lamar, Andre 3000 and others. Much in the same fashion of Kanye West’s “The Life of Pablo,” Ocean decides to make his track listing appear as if the project is all his vocals, without assistance from others. It is a deliberate move that, from a marketing perspective, I find baffling, as elsewhere in the industry artists rely solely on the power of features to sell their work.

Several skits appear throughout the album, in the form of “Be Yourself” and “Facebook Story.” While skits tend to be jarring when one views an album as a whole, the poetic nature of “Blonde” makes the integration of the two styles seamless.

Building off of an earlier point, listeners should not necessarily view this album as “music.” From a production and lyrical perspective, this is a poetry reading. Whether or not one will enjoy “Blonde” relies heavily on one’s thoughts on Frank Ocean and how much enjoyment they find in hearing poetry. There is nothing particularly wrong with Ocean’s new direction, it just comes off as somewhat underwhelming after the foundation “Channel Orange” left behind.

Best Tracks: “Pink + White,” “Seigfried” and “Be Yourself.”