The project opens with “Mirror,” an energetic piece comprising punchy drums and cinematic textures. The synths are clean and crisp, evoking urgency and although the vocal effects are prominent, they don’t detract from the listening experience. The chorus is catchy, and the overall introspective theme is relatable. Next is “Someone Else” which comes with wobbly synths and pop-influenced instrumentation that caught our attention.The vocals have fewer effects and sound more natural than the previous track. Here, Williams acknowledges his failings and takes full accountability for his role in the dissolution of his past relationship. The next set of tracks highlights Williams’ versatility when it comes to his creativity. “Troublemaker” sets the tone with a dark and upbeat soundscape reminiscent of the mid 2000s electronic/pop-hiphop infused sounds that were reigning. The lyrics are heartfelt and highlight the power of seduction. On the other hand, “Louis Vuitton” is a downtempo track reminiscent of The Weeknd and is underpinned by Williams’ laid-back melodic runs. The vocal stacking is heavy on the chorus section here, and this aesthetic starts to reoccur like a motif for most the rest of the album. Williams employs a hushed vocal performance on “Sooner Later”  while “Driver” is ounctauted by heavy vocal tuning. The former continues the downtempo dark R&B style while the latter is a smooth club-ready beat that finds Williams as the designated driver who takes a lady on a blazing trip through the city.

As fa as topic goes, Williams finds new subtle ways to share his stories and struggles using what he knows best. I don’t think he is trying to break new grounds or crossing uncharted territories, but he sure is having fun and making great serviceable tracks that mean something to him. To some extent, one can say it’s therapeutic as he doesn’t shy away from being vulnerable by sharing his insecurities and flaws. Tracks like “The Pole” explores the power of lust and negative conviction. We find Williams stuck in the web of a stripper whose seductive dances and sultry words have captured his soul and he tries to break free to no avail, while  “Red Line” finds Williams convincing his partner to take that risk and break free from the constraints of life and find true freedom together. The track has an ominous backdrop evoking urgency, and is punctuated by dark synths, moody pads. On the moody track “Yuko,” he pours his heart on wax as the emotional pain fills him up after losing a loved one. “Bad to You” is an interesing cut. It slowly builds up and is a showcase of William’s vocal range and style. Blending melodic rap with future R&B sensibilities, he delivers quite an enggaing performance that bridges the gap between cloud rap and R&B. The track is about emotional pain, loss and regret and is one of the most profound piece on the entire project. The final track “Losing on You” is a great closer as it finds Williams contemplating on his decisions and the outcome of his wrong doings. He delivers apologies to his loved one and tries to convince that special someone to give him one more chance. Other cuts include “Paralyzed” which comes with a mellow synth with underlying dark elements and is a classic dark pop piece with a future R&B vibe and “Fast Car,” a smooth piece with similar synths and lead chords that felt a bit redundant, but it gets the job done. However, the chorus doesn’t really strike us.

Overall, Dark straddles between the dark R&B/experimental cloud rap space and it would be unfair to judge it by categorization but by merit, it offers something refreshing for lovers of these sub genres.