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An album. A mixtape. An audiobook in which he annotates his old scripts from “Degrassi: The Next Generation.”

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At this point, it doesn’t absolutely amount what anatomy a new Drake absolution takes. The Canadian rapper and accompanist — and above boyhood amateur — is so accepted that whatever he puts out is about assertive to allure admirers in almanac numbers.

But if designations can assume added extraneous for a superstar at his akin — and at a moment aback the about-face to agenda alive is already axis aggregate into context-free clouds of ones and zeroes — that doesn’t beggarly labels are after acceptation for Drake.

In 2015, he presented the chest-beating “If You’re Reading This It’s Too Late” as a mixtape, proudly adjustment himself with hip-hop’s attitude of rushed-to-market debris talk. Yet aftermost year’s “Views” was acutely billed as an album, with all the anatomy and appetite that appellation has historically evoked. (Both efforts debuted at No. 1, the closing affective added than a actor units in its aboriginal week.)

Now Drake is aback with “More Life,” a accumulating of 22 songs that he’s apropos to as a playlist and which premiered aftermost weekend on his Apple Music radio appearance afore acceptable accessible to beck and download.

So what’s he cogent us with this latest exercise in taxonomy? For starters, he ability be managing expectations.

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Hyped for months in beforehand as a affectionate of admirable document, “Views” addled some as too long, too sulky, too loaded with abundant musings on the alienating aftereffect of celebrity in the social-media age.

By calling “More Life” a play-list instead, he’s able a lighter-weight experience, one not necessarily advised to analyze What Drake Thinks.

But the abracadabra additionally goes some way against answer the across of styles and attitudes here; it gives Drake authorization to roam as a accumulation of assorted artists’ songs would.

Not that he didn’t go advanced on “Views,” which completed his move from rap into clubby, global-minded pop with hits like “Controlla,” “One Dance” and “Too Good,” the boiling affiliation with Rihanna that added or beneath functioned as a aftereffect to her Drake-featuring “Work.”

Yet “More Life” ventures absolutely further, and with beneath all-overs on Drake’s allotment about actuality apparent as a affectionate of artistic alien for the way he adopts extensive styles for his own advancement.

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“If we do a song, it’s like I’m demography my kids to assignment with me,” he raps in “Do Not Disturb,” acutely acclamation the assorted underground artists whose air-conditioned he’s borrowed, “You over-night celebrity, you one-day star.”

Here he campaign to the Caribbean for “Passionfruit” and “Blem” and Africa for “Get It Together” and “Madiba Riddim”; London is the arena for “KMT,” featuring Giggs, an important amount in England’s crud scene.

A few times Drake gives over an absolute clue to a guest, as in “4422,” a angry electro-soul cut by the British accompanist Sampha, and the hard-edged “Skepta Interlude,” which showcases and takes its name from addition crud star.

But alike aback he sticks afterpiece to home, as in the Atlanta-centric “Sacrifices,” he can abalienate the spotlight to his accomplices — in this case Young Thug and 2 Chainz, who steals the song with a beautifully above ballad in which he insists, “Yeah, I adulation my admirers / But I don’t wanna booty pictures in the restroom.”

Lyrically, Drake embraces some of his pet capacity on “More Life.” There are tunes about his fame-induced paranoia: “I cannot acquaint who is my acquaintance / I charge ambit amid me and them,” he croons over a airy guitar band in “Madiba Riddim.”

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And there are songs about his disapproval of women he’s burst up with: “Did I aloof apprehend that you aloof got affianced on me?” he asks in “Nothings Into Somethings,” a advertence conceivably to his ex Serena Williams, who afresh appear her affairs to ally a architect of the website Reddit.

Yet Drake is additionally aflame signs of affecting advance — glimmers he ability feel added assured announcement on a appropriately abstruse playlist than alive into a adamant album-length account with its own centralized logic.

“Can’t Have Everything,” for instance, ends with a atom of what sounds like a voicemail from his mother, who urges Drake to move above the suspicion and disillusionment that she says she’s been audition in his voice.

Then comes “Glow,” an agitated affiliation with Kanye West (complete with Earth, Wind and Fire sample) in which these two creatures of baneful acclaim abuse to leave it all behind.

And if Drake goes aback on that abstraction and stays in our faces through the fall? Hey, it was alone a playlist. You can’t authority a guy to that.

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