A TRACK-BY-TRACK REVIEW OF FERGIE’S DOUBLE DUCHESS

By: Sinead Li

4.6/10 Over a decade in the making, Fergie’s follow-up album to her incredibly successful solo just doesn’t hit the mark.

HUNGRY (feat. Rick Ross): One of the better produced songs on her album, with haunting chords, kind-of like a Mike WiLL Made-It track. Too bad neither of them can do the instrumentals justice.

LIKE IT AIN’T NUTTIN’: Worst song by far, the bass-line’s theme with additional unnecessary high-hats is completely exhausted by the end. Fergie has never sounded more boring.

YOU ALREADY KNOW (feat. Nicki Minaj): Solid transitions from smoother to more aggressive verses. Both, but especially Nicki, have done better. I want to take the R&B interlude out on a date; it’s so beautiful.

JUST LIKE YOU: Fergie showcases her new, impressive vocals with an emotional melody-focused track. However, there is no variation in the production. The most interesting part only lasts the final ten seconds, ew.

A LITTLE WORK: Another slow track, but pulled off more successfully — there’s the changes in tempo that Just Like You desperately needed, and the lyrics feel more personal.

LIFE GOES ON: The most surprising song off the album, the beats hollow compared to the heaviness of before. Fergie finally finds her flow. Spoiler Alert: she loses it barely a minute later.

M.I.L.F. $: Finally, the old Fergie you might’ve wanted, but kitschy rather than iconic. Again, her singing verses are almost laughably better than her rap ones.

SAVE IT TIL MORNING: Its melody is beautiful and strong, but could use a better bridge, something that emphasizes the lower chords. Fergie’s lyrics are just mediocre, as usual.

ENCHANTÉ (CARINE) [feat. Axl Jack]: Hollow, bell-like beats with vocal modifications. It’s pretty cute how Fergie used her son’s voice for the chorus, just too long and repetitive.

TENSION: A strong contender for the best song off the album, it sounds mature, yet still genuine to Fergie. The funky guitar riff takes the best of the 80’s with groovy, crooning falsettos.

L.A. LOVE (la la) [feat. YG]: It sounds like an early-2010s track, something Rihanna would turn down. I didn’t think YG’s verses could be worse than hers, but he proves me wrong.

LOVE IS BLIND: I can totally see the comparisons to Beyoncé’s Hold Up. Just like Tension, it sounds far more musically mature than the others, with swinging vocals and reggae-inspired drums, and she uses silence well.

LOVE IS PAIN: The chorus is interesting, the bass guitar is effective, her vocals are strong, the verses are boring — I like the finger snaps, but the ending is messy.

Sources cited: http://thatgrapejuice.net