Hot New Joint: "All Day" by Kanye West
Despite how polarizing of a figure Kanye West is (mostly for his off-stage antics and persona) you have to hand it to the guy—he knows how to create a promotional frenzy around himself. Between his Adidas clothing line, his seemingly one-off singles with Paul McCartney, being really happy for Beck at the Grammy awards, one also needs to remember that ‘Ye has a new album coming out in the near-ish future, So Help Me God.
On the heels of the album’s first track, “Wolves,” performed
during the “SNL” 40th anniversary special, and revealed during the
Adidas runway show, Kanye has just officially released the first proper single
from So Help Me God—the absolute
banger “All Day.”
In a sharp juxtaposition of the “no promotion is my
promotion” efforts behind 2013’s Yeezus,
with “Wolves” and now with “All Day,” Kanye has tapped into a bit of an
old-school Internet clamor involving the desperate need for people to listen to
bootleg recordings and webrips as they wait impatiently for official releases
to trickle out. Somebody records the audio to “Wolves” as it plays during the
fashion show, and then puts it up on a Soundcloud link? Sure, that’ll do until
the album comes out. ‘Ye performs “All Day” at the BRIT Awards while a bunch of
Grime artists jump around and play with flamethrowers behind him? Well someone
will rip the audio to that too. “All Day” debuts on Hot 97 and Power 106? Radio
rip is online for a matter of minutes—just long enough to make it through the
track once, before it’s taken down.
And then finally, like clockwork, the song is placed in the
iTunes store.
The frenetic tactics are reminiscent of downloading shitty
bootlegs from Audio Galaxy and other P2P sites over a decade ago when I was in
college—just that absolute fucking need
to hear a song that hasn’t been officially released in a commercial format yet.
The question is: is “All Day” worth the hype?
Well of course it is.
Saying that the song is “hot fire” is an understatement—and
hey, no joke intended there with the hot fire, and the mention of flamethrowers
before. It’s a breathless and relentless ride, both surprisingly
infectious—with an emphasis on maintaining a pop sensibility—while still being
“arty”—experimentation for the sake of pushing rap music forward into a post-Yeezus soundscape.
Musically, it switches back and forth between the
triumphant, huge bursts of heavy synths before heading into a wonky, sometimes
spooky, nearly minimalistic crawl for Kanye’s verses. Lyrically—‘Ye punctuates
nearly every line in the song with “All
day, ni**a,” in some cases, using it to answer a question—like, how much
time has he spent at the mall, or how long has it taken for him to become this
fly?
Kanye barely comes up for air, frantically soaring through
his verses, tossing off punchlines like “You
a fake Denzel like the All State ni**a. If you run into me, better have All
State with ya,” and “Like a
light-skinned slave, boy—we in the mothafuckin’ house,” so casually that it
takes well into the next line for it to register just how clever what you heard
actually was.
However, despite how successful this song is as a whole,
that is to say it is not without minor flaws—notably the ending. So sure, the
inclusion of Paul McCartney strumming the guitar and whistling is fine, since
the song itself borrows the melody from said whistle. But it’s what arrives after this portion that had me
scratching my head.
Serving as a bit of a coda, “All Day” abruptly concludes
with wavy synth and vocal blasts with the following lyrics—“Well, well, well, let me run to see who came
undone. You’ve been right in my face, let me run ‘til you’re off my case.”
Rap Genius currently credits this to McCartney, though through the heavy
distortion, it’s tough to tell who or what is making this happen. And the real
question is why—since it seems to have little to nothing to do with the rest of
the song, bringing it to a strange, startling conclusion.
Even with this one misstep (which is relatively easy to
forgive) “All Day” is an impressive track—a balancing act between aggressive
and fun, which ‘Ye manages to pull off effortlessly. However, what it does not
do, is give a clear impression of what we can expect from So Help Me God. Tone-wise, it matches the heavy feelings of
“Wolves.” Despite his obvious attachment to “Only One,” I have no idea how it
would fit into a set of songs that so fully realized and practically oppressive
sounding with their production and sentiment.
In a recent interview, Kanye said So Help Me God was 80% completed. So who knows what that means. The
Monday evening iTunes release of “All Day” arriving after the absolute clamor
for a proper version of the song harkens back to something included on Yeezus’ opening track, “On Site”: He’ll give us what we need, it may not be
what we want.
"All Day" is out now via Def Jam and GOOD Music, in the iTunes Store.
"All Day" is out now via Def Jam and GOOD Music, in the iTunes Store.
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