why konnakol sounds better than it feels

a sonically strong album that never fully opens up

originally titled “fuchsia sea,” it eventually became konnakol, a practice of singing complex rhythmic patterns instead of playing them on a drum. in his fifth studio album, zayn draws from his cultural roots, shaping the project around a deeper sense of self, understanding who he is, where he comes from, and where he’s going. he’s described it as a continuation of mind of mine, a return to the r&b sound that first defined him.

“die for me” is his first proper single since dusk till dawn. it’s powerful, tense, and catchy, with his vocals really shining, especially in the bridge. lyrically, it’s less about what he says and more about how he says it, you can almost feel the anger running through the track. it’s his signature moody r&b, but with a sharper emotional edge.

“sideways,” the second single, opens with a menacing piano and builds into a rich, layered production. his sultry vocals sit perfectly over the dark, trap-leaning instrumental, carrying that same r&b intensity he does so well.

the album then opens fully with “nusrat,” named after nusrat fateh ali khan, built around chant-like vocals. it’s a strong start, though not quite as striking as the live version he performed during his las vegas residency. i wish he had loosened the drums a bit and let his voice take center stage instead of keeping it partially in the background. “betting folk” follows, leaning fully into its folk influences. the pre-chorus and chorus feel especially dreamy, and the lighter use of effects on his voice really helps it stand out.

on “used to the blues,” he leans into an alternative rock sound. there’s a slight warble in his voice, paired with steady kick drums, and the way the guitar cuts in adds to a really tight, well-built arrangement. when he sings, “cigarette don’t hit me like it used to / i got used to the blues,” it feels less literal and more like a metaphor, like life just doesn’t hit the same anymore.

“5th element” keeps a solid tempo, with an ethereal, almost cloudy chorus, while the pre-chorus melody stands out. from there, “prayers” leans darker, built around distorted, synth-heavy production with a filtered vocal tone. when the chorus opens up, he hits every note cleanly, and the way his vocals are layered almost like instruments becomes one of the strongest elements of the track.

“side effects” shifts into a pop-r&b crossover. the bass and drums give it a nice cadence, and while the first half of the chorus is catchy, the second half feels a bit underwritten. “met tonight” opens with afrobeat percussion, immediately showing the album’s genre versatility. it’s light, catchy, and has an easy dance feel that grows on you with each listen. on “fatal,” there’s an ambient blur at the start, with haunting, echoing vocals, while the brief synth flares throughout give it a subtle The Weeknd-style atmosphere.

“take turns” makes an interesting use of vocoder effects, paired with a crazy chord progression. it clicks on the first listen. he slips into borderline rapping, and the track feels very percussive, with sub-bass that hits you in the chest and high notes floating in the background. “blooming” then shifts the album into a softer space. his falsetto really shines here, giving the track an almost spiritual tone. when he sings, “maybe i was my own achilles,” it feels reflective, like he’s turning inward and sitting with his own past.

“loving the way i do” stands out for how expressive he gets. the way he wails into the chorus feels raw and animated. it almost sounds like something from room under the stairs, just reworked with the production style of this album. “breathe” is more of a grower. it’s quiet, sad, and intimate. when he sings, “become what version that you need,” there’s a clear sense of desperation underneath it. the falsetto and layered harmonies carry the track, soft but lingering.

by the end of it, he’s out there doing interviews, going on tour, and he seems lighter, more settled in himself. staying true to who you are while still moving across genres like this is rare, and you can hear that throughout the album. the filters on his vocals work in parts, and when they fall away, his voice stands out even more. but lyrically, it doesn’t always go far enough. there’s a lot about love and relationships, but not much that really stays with you, a lack of storytelling, a lack of depth. and maybe that’s what holds it back a little. sonically, he’s present, evolving even, but emotionally, it still feels like there’s more he hasn’t said yet.

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stand out tracks: prayers, used to the blues, take turns, loving the way i do, breathe and die for me.