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She tweeted a link for a free download not long after the album appeared, last week, on the “artist-owned” streaming service Tidal. In his review of “Anti” for The New York Times, Jon Caramanica wrote that “at this stage of her career, music may be the least essential brick in her house” - and indeed, Rihanna seems completely unconcerned with the monetary returns of the album’s sales and streams. (This was a big move and a symbol of independence - perhaps the first such moment in the singer’s already-storied career.) In October, she acquired the masters of her previous albums from Def Jam. Last year, after parting ways with her longtime label, Def Jam, to work with Roc Nation, Rihanna took the reins of a newly created imprint of her own, called Westbury Road Entertainment. Amanda Petrusich, writing for Pitchfork, cautioned listeners that they might be “underwhelmed.” It was three years in the making, and then, with little to no warning, “Anti” was released into the world.Įxpectations were sky high, and the first reviewers were, maybe inevitably, disappointed: They described the album as uneven, scattered and sloppy. It seemed she was brewing something big for her eighth album, something more majestic and monumental than we’d seen before.


The lead-up to “Anti” was different: After releasing hit music on a tight, predictable schedule, Rihanna suddenly stopped. Her success doubled, then tripled and quadrupled the assembly-line model turned her into a perfectly produced product, ready for consumption. For as long as she has been a star, Rihanna’s career has functioned as a perfectly oiled pop machine: Her first record dropped in 2005, when she was 17, and she has churned out a new album each subsequent year for the entire decade since, collecting multiplatinum sales, eight Grammys and 24 nominations in the process. 1 on Billboard’s album charts), is unlike any of the records that preceded it. As its name suggests, “Anti,” the new studio album from pop singer Rihanna (and this week’s No.
