Album Review: Kanye West- Yeezus
One thing to keep in mind, if you can, while listening to Yeezus, is that Kanye West’s debut LP, The College Dropout, is almost ten years
old. It really doesn’t seem like that much time has passed, but one then must
look at how far Kanye West has progressed as an artist, as well as a brand, or
an idea, since then.
From the techniques of speeding up sold soul samples and
pink polo shirts on Dropout, to the heavy
baroque influence on the Jon Brion-helmed Late
Registration, to the venetian blind sunglasses and Daft Punk samples on Graduation. Then came the polarizing, depressing, electro-high concept 808s and Heartbreak.
Finally, there was My Beautiful Dark
Twisted Fantasy, an album so dense and grandiose; it was thought to be
West’s definitive statement as an artist.
I don’t even know where to begin with Yeezus. The hype surrounding this album is beyond belief, and when
it leaked on Friday morning, this is the first time I can remember any
mainstream media outlets giving a shit about an album leaking onto the Internet
prior to release. Purveyors of all things pop culture Buzzfeed had a timeline,
breaking down the events that would lead up to this getting out ahead of
schedule. Most of the country doesn’t even understand how an album leaks. And
if they do, they probably don’t even know the first place to look for it
online.
Not only is there the hype surrounding this album because it’s
something new by one the world’s most successful performers, but there’s the hype
surrounding the near-secrecy it was produced in, the high security to keep the
music locked down until June 18th (that didn’t work), and the “no
promotion” promotional efforts. No pre-orders. No radio singles. And if you
thought David Bowie’s artwork for The
Next Day was on some next-level shit, the bizarre packaging for Yeezus will more than likely be too much
for you to comprehend.
(possibly the final artwork, with a blank red sticker sealing the case.)
In interviews, and in his recent stage banter at live shows,
West claims that the radio isn’t where he wants to be right now. He’s trying to
make art. And as frustrating and inaccessible as My Beautiful Dark Twisted Fantasy could be at times, it was still
an album that, as a whole, most people probably “got.” It also had a relatively
steady stream of singles released from it. While Yeezus isn’t certainly going to tank commercially, or be the end of
West’s career, it’s going to alienate a lot of his casual fans. People who only
like him for his singles will certainly be confused by the album’s incredibly
dark and angry tone.
Yeezus is ten
tracks long, and it is relentless. Like, it never lets up. For an album that
West has claimed was made with “minimalism” in mind, thanks to the oversight of
Executive Producer Rick Rubin—I would never describe this album as minimal.
There is almost entirely too much happening on every song. Musically, West has
said that he is “new wave,” and I’ve read somewhere that one could consider 808s the first post-hip hop album. If
that was post-hip hop, then what the fuck is this? Making a generalization, you
could just say it’s way “too future,” but then you should maybe explain
yourself.
The production methods of this album will destroy your
headphones. And if you listen to it in a car, and if you have a decent sound
system, it will more than likely destroy that too. The synths are heavy. The
bass is punishing. The beats are crafted to purposefully clip and become
distorted. And it’s also terrifying. Like there were times when I was
legitimately scared of Yeezus—E.G. the
ending moments of the song “I Am a God.” They involve West just screaming like
he’s being attacked, followed by heavy breathing, then silence. Then screaming
again. This was something that actually stopped me in my tracks when I heard
it.
All of West’s albums, for the most part, have revolved
around a concept. Yeezus is no
different. It’s a somewhat self-referential song cycle that ends as abruptly as
it begins. Raunchy sex, a God complex, and the imagery of “blood on the
leaves,” are just a few of the recurring themes that run through the album. While West chose not to release any singles
prior to the album’s street date, he has been performing much of the material
live recently, as well as debuting “New Slaves” and “Black Skinhead” on the
season finale of “Saturday Night Live.” One of those songs is about privately
owned prisons. The other, among other things, takes on racism—“stop all that coon shit. That early morning
cartoon shit.” Neither of those scream, “radio friendly,” or “hit single”
to me. Yeezus is meant to be digested
as a whole—the songs are almost designed in a way that they don’t work if they
are taken out of the context surrounding them.
Lyrically, Yeezus
finds West at his most polarizing. The Internet was already ablaze with
quotable moments, like, an hour after the leak hit. Some highlights that stick
out are:
In a French ass
restaurant
Hurry up with my damn
croissants
We get this bitch
shaking like Parkinsons
Put my fist in her
like a civil rights sign
When I park my Range
Rover, slightly scratch your Corolla
Okay, I smashed your
Corolla. I’m hanging on a hangover
There are probably more. But these are the ones that stuck
out the most from the first listen. And into the second listen.
As mentioned early, musically, there is so much happening on
Yeezus it’s actually overwhelming. The frenetic synth sequencing on “On Sight,”
the fuzzed-out bass and overblown drums on “Black Skinhead.” The terrifying
reversed feedback on “I Am a God,” the last 1:22 on “New Slaves.” The moody,
somewhat somber synth lines, that are actually quite beautiful, underlying in
“Hold My Liquor,” the pitch-shifted vocals on “I’m In It.” The ridiculously
chilling use of a Billie Holiday Nina Simone sample on “Blood on The Leaves,” the squalling
noise that runs throughout “Send it Up.” And finally, the combination of two
old, obscure R&B/Soul samples from the 70’s, and “Sweet Nothin’s” by Brenda
Lee, that serve as the backbone to “Bound 2.”
(possibly the original cover art, with a melted jesus piece)
In a piece on Vice,
leading up to the release of Yeezus,
it mentions the juxtaposition of a member of the 1% speaking up for the 99%.
Kanye West is the guy who coined the phrase “luxury rap” on his boastful
collaboration with Jay-Z, 2011’s Watch
The Throne. “New Slaves,” and “Black Skinhead,” are the only two really
tracks on here making a real statement. Everything else is pretty much standard
fare for West. He is a God, but he’s also a man of God (let that sink in for a
second.) He can’t hold his liquor. He likes somewhat depraved sex. And it’s
that last part that is in interested to ponder for just a moment when you think
about the high profile relationship West is currently in—“celebrity” Kim
Kardashian is carrying his child.
On Justin Timberlake’s 20/20
Experience, it was somewhat of a paradigm shift to think that the usually
faceless “girl” being sung to in pop songs could be Timberlake’s wife, actress
Jessica Biel. The girl on the receiving end of the…things that happen
throughout the course of Yeezus—well
it’s hard to believe that any of it is in reference to Kardashian. The roots of
rap and hip-hop have always been based in storytelling—whether fact or fiction.
Yeezus blurs the line somewhat, so
that it’s hard to tell what is meant in jest, and what is sincere.
So what is the take away from Yeezus?
The thing that’s most obvious is that Kanye West is not
afraid to push the boundaries of hip-hop. Or destroy the boundaries, as it
were. If My Beautiful Dark Twisted
Fantasy was his OK Computer, this
is most definitely his Kid A. It’s a
big record, and again, I’m failing to see any minimalism here. It can be a
patience testing record. It can be ugly, beautiful, and both at the same time.
And there are moments where it’s unsettling, somewhat terrifying, and
incredibly claustrophobic.
An interesting factoid that was revealed shortly before the
album’s leak was that Rick Rubin really came in at the 11th hour and
helped shaped a lot of these songs. One is lead to believe that Kanye had rough
outlines, and ideas for songs, but that many of them were incomplete—some
without lyrics, until Rubin stepped in.
After the Internet was finished shitting itself over the
fact that this album leaked, the debates started about if this was, in fact,
the “final version” of the record. And there were discussions about when Kanye actually finished the album—there are
those that have heard, somehow, that it was done two to three weeks ago, and
there are others that claim he was still working on it at the start of the
week, pushing everything to the absolute last second.
One has to wonder how this album actually did end up on the
Internet, a full four days prior to release. According to the Buzzfeed story
that tracked this, there was no iTunes pre-order options or iTunes advance
streaming because that is apparently how the most recent Daft Punk and The
National albums found their way online before they were intended to. It would
seem that for the right person, it is very easy to hack into iTunes. The
original zip file for Yeezus
contained .m4a files, with a bit rate of 256 kbps—the standard file type and
quality one procures from the iTunes store.
If you are looking to Yeezus
as a “statement,” what statement does it make? Kanye West has always been a man
of contradictions. It’s album that calls out racism and stereotypes but it also
plays into those stereotypes at times. It’s incredibly cynical about love yet
is looking for it by the end. It points the finger at the Corrections
Corporation of America, and it glorifies a lifestyle that pretty much everyone
who listens to this album will never be a part of.
It’s an incredibly dark and uninviting album—keeping the
listener at an arm’s length, making you actually WORK at listening to it.
Musically, while there is the hint of cohesion throughout the course of Yeezus, it’s definitely structured to be
in two specific halves—the first having a heavy electronic sound, thanks in
part to the collaboration between West and Daft Punk. The second half, still
containing those elements, drifts into standard hip-hop territory—trap music is
specifically named by West—as well as the usage of samples to create a
song—looking mainly at “Blood on The Leaves,” and “Bound 2.”
My Beautiful Dark
Twisted Fantasy was weighed down at times by just too many guest
appearances—Jay Z, Rick Ross, Nicki Minaj. It’s been interesting to watch, over
the course of the last 72 hours, the changes and edits occurring to the Yeezus Wikipedia page. As early as
Saturday, it listed each song’s production team—but now that’s all gone. It
also, at one point, elaborated more on the guests featured on the album—Bon
Iver’s Justin Vernon is credited officially on one song, but pops up two more.
Up and coming Chicago rapper Chief Keef—a truly acquired taste vocally speaking—sings,
heavily auto-tuned, the chorus on “Hold My Liquor,” Kid Cudi, who has a
surprisingly good voice, belts it out on “Guilt Trip,” and a seemingly
uncredited Charlie Wilson arrives periodically, almost breaking in from another
song completely, on “Bound 2.”
Come Tuesday, it will be really interesting to see what the
general populous thinks of Yeezus. Whether
you love it, hate it, or just don’t get it, anybody should be able to see what
an incredible accomplishment this is—Kanye West is obviously someone with a
vision, and this record proves that he won’t compromise that vision. It’s
refreshing to see someone so successful commercially take such an artistic
gamble like this. Yeezus transcends
the hype surrounding it. Listening to it, start to finish, is an exhilarating
experience. Similarly to the day that the new My Bloody Valentine album came
out, unexpectedly, and I sat on the floor of my living room, completely shook
buy what I was hearing for the first time—putting in Yeezus and pressing play is like that. Every time you listen.
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