Post by nuevodudezer47 on Jun 14, 2013 21:04:13 GMT -5
First impression: might be his best album from a production standpoint. lyrically it might be his worst. so it's hard for me to view this as a good rap album. But as a hip hop instrumental/industrial album...it's pretty damn good.
See...I view My Beautiful Dark Twisted Fantasy as his wordiest. I just prefer Late Registration's storytelling. And that's just my preference really. I like rappers that paint pictures and tell stories. Kanye hasn't really been doing that on a consistent basis for awhile.
As a side note, anybody else pick up on the big influence Trent Reznor's had on the past two outings?
Post by nodepression on Jun 17, 2013 8:12:04 GMT -5
From the NYT review,
One of Mr. West’s oldest production trademarks is to raise the pitch of a recognizable song, and on “Yeezus” he does that using Nina Simone’s version of “Strange Fruit,” the chilling song from the 1930s about a lynching. Her austere piano ballad, with Mr. West’s voice computer-tuned into a melody, gives way to a dirge driven by repeated hornlike notes. With the profound history of “Strange Fruit” and the bitter clarity of Mr. West’s new sound, “Blood on the Leaves” could be a perfect setting for a manifesto on race and justice, a sequel to Mr. West’s songs like “Jesus Walks.” But it’s not: the lyrics are about a hookup at a party, an affair destroyed by “the limelight” and, one more time, alimony (a subject Mr. West handled with far more panache years ago in “Gold Digger”). It’s a rehash, a squandered opportunity.
Ah, okay. I think it's rather unreasonable to expect that to happen. Pareles basically had a very, very specific hope/expectation for that song. And I think it's hypocritical to criticize him for doing a "re-hash" of one type of song (about love/lust) when you're imploring him to do a different sort of re-hash (race relations).
In terms of structure and all that I think the lyrics are actually pretty good on that song.
Post by nodepression on Jun 17, 2013 12:01:31 GMT -5
Kanye's occupied this heightened sense of place in my musical listening ever since College Dropout came out. One of the few musicians where I've purchased every record/listened and consumed every record as they came out, and it's amazing how his taste's and direction have matched what and who I'm listening to. Stuff like TNGHT/Haxan Cloak that obviously have had an effect on the direction of his music.