Delving further into the funk and soul grooves that he often draws inspiration from, Anderson .Paak’s latest musical rendering, a full-length studio album entitled “Ventura,” marks his return to peak form, both instrumentally and lyrically, by way of the atmospheric and stylistic diversity paramount to his early works. Rich tones of vocal harmonies and intimate synth cuts commence the album with “Come Home,” a heartfelt plea to a former lover to make amends, a staple of soul music past that immediately dictates the project’s refreshing tone. In-the-pocket drum lines coupled with the cadence and quick flow of hip-hop legend André 3000, although buried in the track’s final verse, supply momentum to an otherwise intimate, classic piece. Though failing to reach the visibility and memorability that his 2016 LP “Malibu” achieved upon release, “Ventura” signals a time of artistic growth for .Paak while offering a reprieve from the aggressive excess that marred his prior release. Thematically, he discusses the role of activism in entertainment, conveys how past struggles and new-found status have dictated his relationships with women, and relates the frustration synonymous with his rags to riches story already delivered to listeners in “Malibu,” his second full-length work.

Distinct backing vocals supplied by Smokey Robinson amidst a sweeping of strings on “Make It Better” offer a seamless transition to a luscious track that in spite of thematic disparity, establishes an early sense of cohesion. “Reachin’ 2 Much,” regardless of lyrical suggestiveness, stands as the unequivocal apex of production quality while washing away the isolation of prior tracks with its flashy, intoxicating groove. .Paak’s decision to front-loads the tracklist with a diverse, star-studded array of featured artists, although an effective vehicle for retaining initial listenership, sets high expectations for the tracks that follow. Fortunately, the collection of tracks that follow emphasize the versatility responsible for attracting so many listeners to his discography. He cycles from a cold rap verse at the tail end of “Winner’s Circle” to the subdued club anthem of “Jet Black” before reaching Motown grooves and staccato brass backings on the project’s penultimate song.