Fog hugs the CN Tower's summit, looming distinctively above the crowded sidewalks, delayed TTC streetcars and bumper-to-bumper traffic. The grey city has finally thawed after an extended freeze and you can tell just by standing in the thick of the hazy Toronto air that the seasonal change has transformed everything. Even Drake, a global pop dominant, knows that kind of magic is exclusive to this place and time. And it's a moment, post-cold apocalypse and pre-cook out heatwave, captured specifically on his fourth-full length album, a project solely dedicated to The 6 and the agony and audacity of being loved and unloved within the screwface capital. Those are the Views.

"You're not from the city, I can tell," Drake states, his elastic cadence dribbles on Views album cut 'Still Here.' It's the album's definite statement supported not only in its literal sentiment, but in fan and critic reaction to the 6 God's most anticipated release. Views, made up of twenty polyrhythmic and eclectically curated tracks, is Toronto's ethos and identity in sonic form, an inside joke between Aubrey Graham and the city he's championed since the start. At a pinnacle point in the rapper's career, where expectation has peaked and pressures to deliver a classic opus streamlined the narrative leading up to the late April release, Drake's dedication and formulation of an album directly attributed to a single city is certainly his most altruistic and humble move throughout an internationally-powered career. (Defined as "dunning" the 'Hype,' for those in need of clarification.)

Brimming with patois-heavy slang, select Canadian-centric names, places and moments have offered an unprecedented spot on the world's stage that Toronto's hip-hop community - comprised of many first and second generation Canadians from the Afro-Caribbean diaspora - have never been given. Kennedy Road, Glenn Lewis, Jellestone, T-Minus, Jane and Weston all earn mentions, along with acknowledgment of the city's population of waste yutes and cyatties (by 416Jamz, who happens to have Toronto's premiere area code tatted on her face.) Multiculturalism is mirrored by diverse transnational soundscapes like the danceable uptempo Afropop elements on Wizkid-featured chart-climber 'One Dance,' and Jamaican inflections on dancehall-infused 'Controlla' and 'Too Good.' As a bubble of multiplicity, it's all very Toronto; a soundtrack to our lifestyle and the vision we as a creative commune have been working towards for decades. "Always saw you for what you could've been," the boy sings on relationship-centric album opener 'Keep The Family Close.' The same can be said about T.O and its place as a potential artistic hub.

But through these views, the album's flaws, Drake's flaws and Toronto's flaws are one and the same. Following a productive year delivering more aggressive hits on If You're Reading This It's Too Late and the Future-accompanied What A Time To Be Alive, Aubrey has reclaimed his position delivering the ardently despondent music he initially built his reputation on, through patented melancholy, petty pretentiousness and newly adopted riddims. And while many have critiqued Drake's ego and complacency throughout the lengthy project, his lack of emotional intelligence is also a paragon for misguidance in a city of ex-lovers. It's a mirror to our mind-games and the absurdity with which we treat each other's hearts for the sake of our pride - a shortcoming better left suited in Marvin's Room. Thematic backpedaling is also evident in the particular formulaic approach he takes to his already mastered mannerisms. In an interview on Beats 1 with Zane Lowe however, he did point out his deliberate decision to create "distance between myself and everyone else" after so many artists have attempted to replicate his brand of genre-fusing R&B-tinged sing-raps since his days as Heartbreak Drake. "Cut the cheque so they can take this flow," he shouts fervently on opulent Kanye West and 40-produced 'U With Me?' It's a reclamation of the comfort zone he so specifically created.

But Views are delivered most vividly through symphonic instrumentation courtesy of Kanye West, PartyNextDoor, Nineteen85 and most notably, Toronto's sonic curator, Noah '40' Shebib, who Drake acknowledged as an artistic architect leading up to the project's release. "This story would have gone a lot different without you," he stated over Instagram. Triumphant samples (ranging from the stimulating swirls of Mary J Blige on 'Weston Road Flows' to the grit of DMX on 'U With Me,') and masterful aquatic R&B melodies are affluent and ambitious.

When Drake says, "Views already a classic" on album-cut 'Hype,' he isn't boasting. In the city of Toronto, it really is. And when sampling the Winans' hit 'The Question Is' on the conversational title-track to solely ask the question "will I ever leave you?" - when it comes to the city he hails from, the rebranded metropolis of The 6, the answer is surely: Nah fam.