When Zayn left the band One Direction in 2015, he cited his dissatisfaction with their musical direction saying “there was never any room for me to experiment creatively.” Yet, in the decade since, his output indicates that he has done the opposite, with his vocal performances in particular seeming like they have regressed in their previous complexity as he struggles to cast aside the boy band’s long shadow. The creative stagnation epitomized by his fifth studio album “Konnakol” speaks to this struggle, which is present in the album’s messy style and simplistic lyricism.
Over its 45-minute runtime, the project fails to distinguish itself from the swathes of moody R&B offered by artists like The Weeknd and Brent Faiyaz. Perhaps some of that is due to the lofty expectations that the British singer set during the buildup. Coming off of a residency in Las Vegas earlier this year, Zayn commented that he worked on the album inspired by his interactions with fans. Indeed, a unique, more fan-focused spin on Zayn’s typical chart-topper pop would have certainly been a welcome change. Furthermore, the allure of a producer like James “Malay” Ho working on the album added an exciting layer to the hype, given his exalted discography including work with Frank Ocean and on Zayn’s earlier projects.
The album begins with the song “Nusrat” which, according to Zayn, is a tribute to Pakistani musical icon Nusrat Fateh Ali Khan. Though it does include a smattering of background vocalizations that vaguely resemble Khan’s Qawwali style, any resemblance or influence ends there. It falls into the simple drum loops, repetitive pulse of synths making up the beat and whiny chorus that are recurring motifs in the album.The next songs, “Betting Folk,” “Used to the Blues” and “5th Element” fall victim to these same tropes as well with the only exceptions being the occasionally heard guitar strings in the background. The lack of instrumental variety, in conjunction with the strangely foggy mixing of the vocals, conveys a distinctly unfocused image of the artist.
The promises of the album being a cultural celebration of his South Asian heritage were made clear through his promotion for the album. On an episode of music podcast the “Zach Sang Show,” Zayn said that he got particularly good feedback from fans when integrating South Asian elements to his music. He added that he was also expanding on his signature sultry R&B style through the album. The title itself is a reference to a South Indian vocal style involving percussive beats, hinting at a more explicit fusion of influences, something Zayn himself confirmed during the interview. Yet, the album’s 45-minute tracklist does not deliver on the supposed stylistic innovation that is needed to stand out in an increasingly popular genre.
A brief moment of sonic respite in this otherwise rather homogenous first half of the album is “Sideways.” Its selection as one of the album’s promotional singles makes sense, with the more complex percussion and clearer mix lending it heightened pop appeal. “Prayers” also stands out for this while simultaneously using watery acoustic guitars and strings fading in and out as the backdrop for one of the album’s stronger and more inspired vocal performances. Unfortunately, these songs also highlight the absence of compelling vocal performances elsewhere on the tracklist, a facet of the album which audiences may find surprising. It is particularly concerning for an artist who built his reputation on his vocal talent.
“Side Effects” is a microcosm of the problems with many performances on the album, despite showcasing Zayn’s impressive vocal range. The moody and bare production choices limit the range of emotion he can showcase through his voice — the lyrical content does not lend itself to this either. Though certainly never the main factor in his appeal, his lyricism also feels like it has failed to kick on from now 10-year old hits like “PILLOWTALK” as heard in the rather simplistic and repetitive lyrical structures. For example, “Body is sweaty / You’re looking wet tonight / Are you looking for somebody that you met tonight / Are you looking for somebody that you met tonight” from “Met Tonight” is a lackluster presentation of the themes of longing in love that pervade the tracklist.
Zayn took a similarly clunky and repetitive approach to the gloomier themes that are also prevalent on tracks like “Fatal.” The song features a recurring chorus of “Sitting round, been down, ‘cause I’m helpless / Yeah I might be feeling fatal” punctuated with a refrain in Urdu. It is a fleeting callback to the cultural celebration that disappeared a few tracks into the album.
Despite its weaker first half, the album closes out in more memorable fashion than it began. “Blooming” is characterized by a powerful vocal performance and more focused, fleshed out lyrical content. The opening lines “I’ve been fighting my case and I’ve been doing just fine / Never paid no attention I just live in my mind” are a stronger approach to the emotionally intense atmosphere Zayn is going for. By presenting a clearer window into Zayn’s mind, the more vulnerable number is a promising taste of what a more focused Zayn has to offer.
The authenticity of the previous moment carries onto the next track “Like I Have You.” Here, Zayn allows his thick Yorkshire accent to come out briefly on an almost spoken-word verse before sliding into a catchy hook. The album’s outro, “Die For Me,” is an appropriately anthemic closer, showcasing Zayn playing to his strengths in a way that comes off less jarring than the rest of his offerings. The swelling strings and charismatic vocals are a memorable ending, but one that could leave listeners wishing the rest of the album shared this energy.
Instead, the album presents an artist lacking creative direction. It possesses some memorable moments in the form of more radio-oriented cuts, but a majority of its runtime fades into the background as a result of the repetitive melodies, song structure and uninspired lyrics. Despite Zayn's pre-release comments hinting at an exploration of his roots, it often defaults to generic and forgettable chart-topping pop. Though flashes of talent present themselves embedded in the fabric of this album, the lack of focus on this project belies the need for a greater clarity of thought in Zayn’s art going forward.
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