2024 has been a fantastic year for music, and here to push the boundaries of musical creativity is Donald Glover’s, also known as Childish Gambino, fifth studio album, “Atavista.” Released on May 13, the album is unsurprisingly representative of Gambino’s prowess in the realm of R&B, and provides a lot to uncover.
“Atavista” is the reinterpreted, finished version of “3.15.20.”, Gambino’s stealthily released album from March 2020 that had minimal promotion or notice. Since “3.15.20” was removed from streaming platforms just days prior to the release of its successor, it’s clear that Gambino took a step back in the creative process and reevaluated his sound with this one.
“3.15.20” interestingly faced harsh criticism when it was originally released, an eyebrow-raising observation when you consider that this is the foundation for 90% of “Atavista.” The reason for the criticism was simple—it was an incomplete record. Since “3.15.20” was released in the early days of the pandemic, a time when the future was relatively uncertain, Gambino simply wanted the album to exist for his fans, regardless of whether it was unfinished or not. “People didn’t even know I put it out,” he said. “I didn’t master or mix it. I just kind of put it out.”
A large part of Gambino’s previous works in his discography follow him trying to play a character or tell a story. “3.15.20” took all of that away and simply felt like raw, emotional expression. Needless to say, this repackaged version of that unfinished project strikes a chord with me, despite the brief 11-track length.
With three tracks removed and two new ones added, the production on “Atavista” was significantly overhauled. The mixing for the tracks is much clearer and more solid, and the drums on tracks such as “Psilocybae” complement its jazzy sound. It’s safe to say that Gambino made all the improvements that “3.15.20” originally needed to become the masterful album that it is now, albeit with a different name. The album starts off with its namesake track “Atavista,” a fitting intro for this album, and sets the tone perfectly.
The heavy reverb accompanied by a distinctive electronic sound reminds me of early 2000s Daft Punk—vivid and iconic. Gambino’s lyricism is no less as well, with some tracks reminiscent of his 2016 hit “Redbone” and others strikingly similar to songs from his 2011 debut album “Camp.”
This track conveys the album’s recurring themes of moving forward in life regardless of circumstance. Virtually every track discusses existentialism while also serving as reminders to spend the time you have now well, and move forward in the face of adversity.
This record personifies versatility, and the songs “Algorhythm” and “Final Church” are some of the best examples of this and are fantastic displays of dark experimentalism, a subgenre that Gambino is experienced with. These tracks have their moments of slow introspection, which I really appreciate. Although slow moments in songs can often feel like lulls in the rhythm, I feel that they are important to incorporate because they prompt listeners like myself to stop for a moment and really think about what the song is trying to tell me.
The album boasts star-studded features as well. Summer Walker, Ariana Grande, 21 Savage and Kadjha Bonet are notable collaborators on the record, along with the Oscar-winning composer Ludwig Göransson as the mastermind behind bass production.
“To be Hunted” has also been phenomenally remastered, with the same groovy beat from “Atavista” that I now have a soft spot for. Additionally, the new intro on this track turns it into what the song “19.10” from the album “3.15.20” should have been. “To be Hunted” sounds fuller compared to its predecessor, and I attribute this to the melodious synth instrumental that has been blended into the song’s sound, accentuating the drums on the track as well. “Sweet Thang” and “Time” sound much more intricate, proving their reworks managed to turn good songs into great songs. Summer Walker’s feature on “Sweet Thang” gave the song pitch-perfect vocals that perfectly complement its slow groove and delicate rhythm. The drums on “Time” are emphasized more now, and create a more powerful sound for the song.
Towards the end of the album is the song “Human Sacrifice,” a track that fans have already had a taste of during Gambino’s 2018 tour. “Human Sacrifice” is finally a part of a larger project, and I couldn’t be happier. Impressively dynamic, the track reminds me of the essence of positivity that the namesake track “Atavista” introduced.
Following this is the song “The Violence”, and the closing track “Final Church”. “The Violence” is my favorite track on the album, and the magnitude of its avant-garde sounds is leagues above the rest of the record. The acoustic guitar intro was enough to hook me, and the catchy flamenco sound the drums add to it is the cherry on top. As always, Gambino’s vocals that follow sound mesmerizing, creating a song that is incredibly mentally soothing.
All in all, this project is a result of phenomenal mixing and gave an unfinished album the upgrade it deserved. It’s been a joy to listen to, and it fuels my building anticipation for Donald Glover’s final Childish Gambino album coming out this summer.
