Winter’s Diary 4
Tink
2016
In the fourth installation of her Winter’s Diary mix-tape series, Tink foreshadowed how pop stars like Ariana Grande, Summer Walker, and Doja Cat would operate moving forward.
R&B/Hip Hop Soul
BY HARPSICHORD
OCTOBER 8, 2023
Sometimes it is bitter sweet to experience an artist who is ahead of their time when it comes to releasing music. On one hand it’s a shame to see that artist not get their due credit on the spot. On the other hand, they create such a cult classic that the replayability factor comes into play years later when least expected.
Doja Cat recently released her Scarlet album, and there is a track on there that is eerily similar to the work of Trinity Laure'Ale Home, aka as Tink. On Doja’s “Agora Hills,” she samples an old school R&B classic (Troop’s “All I Do Is Think of You”), raps against herself, and sings in an auto tuned falsetto, while describing the feeling of public sex. On Winter’s Diary 4, the fourth installation of Tink’s diary entries packaged as mix-tapes, we often hear her “yeah ee yeah” adlibs (or at least adlibs and vocals of a similar effect that Doja implements on “Agora Hills.”)
If anything, Winter’s Diary 4 should have been Tink’s official debut album. The timing of its release could have seized the moment. Tink had some mainstream spotlight on her with the buzz of songs like 2015’s “Million” and “Ratchet Commandments.” During the time of her early rise, the rapper was in plenty of conversations revolving around who could fill in the void of Nicki Minaj, as the self-proclaimed Queen of Rap was on a bit of a commercial hiatus.
“They call me the MV-ah! They call me the MVP!” declares Tink over a dribbling drill percussion. On “MVP” she channels Michael Jordan on what the sports commentators thought would be his last shot during the NBA Finals. He would eventually end up winning. Tink also wins just like her Chicago muse, swerving in and out of flows. The production from that song leads into the violins of “Real Upgrade,” where Tink makes another sports reference (“Can you dive in it like Odell Beckham?”) and alludes to a King of Diamonds stripper (“If you can, I can dance like Mizhani”). This two peat which exists towards the end of the mix-tape is a luscious six and a half minutes.
On Winter’s Diary 4, Tink’s vocals have matured much more than from the first installment . It’s also a lot more crafted, synchronized, and organized. From the opening track Tink declares how she got “caught up in the Limelight,” before scribbling a pen on the pages of her diary. The continuity of her diary theme is what really separated her from her fellow mixtape peers.
She grapples on fame with “All Falls Down” which sounds like the vinyls that cover her in a bathtub. Particularly in the vein of Luther Vandross’s work in the ‘80’s, but with her rapping in a stern voice– asking for reassurance. There’s a knocking R&B beat on “Show It” where the question persists– her anticipation really hits the pocket when she sings “what’s the point of making me your main bitch,” before accessing a higher register during “actions speak louder!” Somehow, through all the vulgarity, Tink’s rawness evokes exactly what hip hop soul is all about. Timbaland produced that song mirroring his style from ‘90’s R&B akin to Aaliyah.
“Be Single” has a background cry that translates to the work of Anthony Hamilton wailing out his emotions. In that interlude, she accesses the role of the counselor speaking to herself. “I’ll never understand how you give your heart to two different people,” she ponders before going to the club and comparing her nether region to “Aquafina” branded water. That leads into “Surprizes,” a modernized quiet storm moment that samples Janet Jackson’s “Empty.” That portion of Winter’s Diary 4 is exactly what Tink fans would expect from her. The previous three mix-tapes explored how she would go to parties to dance off the pain of a cheating partner, before it gets back into the motion of sex. Take a look at “Feeling Myself” at the end of WD1, and “H2O” on WD3. Tink also happened to be ahead of her time, because she spotlights the work of Lil Durk, who appears on the mesmerizing duet of “Stay On It.” Lil Durk has since become one of the central figures of today’s modern rap.
Like Doja’s “Agora Hills,” popular music in recent years has definitely studied Tink, who was backed by Timbaland in the first few years of her mix-tape era. Ariana Grande would get vulgar and “Nasty” on 2020’s Positions. Tinashe would start collaborating with more prominent trap&B producers like Hitmaka, to create her rapping alter ego, Nashe on 2018’s “Like I Used To” and 2019’s “Link Up.” On Winter’s Diary 4, Tink did work with Jahlil Beats for “MVP;” the producer had gained fame for giving Bobby Shrumda the hood anthem “Hot Nigga.”
At this moment Tink continues to release studio albums trying to get some sort of spotlight. Cardi B and JT of The City Girls have both endorsed her work in the past. Tink no longer works with Timbaland, citing artistic differences. He wanted her to be the second coming of Aaliyah, but that was never her style in the first place. Not surprising enough, the best moments on Winter’s Diary 4 exist when Tink stepped out of that shadow. If anything, the mix-tape best defines her voice and sound to this day.
BB/ANG3L
“MVP” for how Tink effortlessly flows with her freestyling over a beat that could have annihilated her.
“Real Upgrade” for its sheer honesty and how Tink gives a convincing performance about “these diamonds, these diamonds, these diamonds.”
“Surprizes” for being a smooth listen that evokes the feels of sensuality that is reminiscent of feel good quiet storm music of the ‘90s.
Key Tracks
Although it is a mix-tape, Tink stayed in line with her artistic vision of four stellar installations. This one will remain her best, because of its mastering and mixing. It follows through with the concept and shows that she could be much bigger than what the public lets her be. Let’s pretend this was her debut studio album, because she hasn’t left the sound ever since.