Wesley Morgan Paraham
You’re completely right. Except we’re not saying how Kanye approaches rapping isn’t valid as an art, we’re just saying that we think he didn’t do it very well on Yeezus. And I don’t think anyone claimed RTJ is groundbreaking. It’s just really damn masterful at what it’s trying to be. And I’d take masterful execution of the status quo over half-assed visionary efforts all day and every day.
Better than a 30-something asshat who hates kids on their lawn.
I was not challenged by I Am A God. A rock star like Kanye West titling a song “I Am A God” is challenging those who aren’t used to musicians outright blaspheming.
I’ll agree that Kanye tries to occupy that weird middle space, but whenever he does try to occupy it, it ends up less than stellar (808s, Yeezus). Rap has grown since the golden age, largely for the better, and there is a new space for rap music that’s got a party priority, but Kanye West wants Yeezus to be seen as a manifesto. That’s hard, because his words aren’t exactly his best this time around.
Can I judge Yeezus by Illmatic standards? Probably not; Illmatic is a 19-year-old hip hop record that adhered to the consensus of the day. Conscious rappers don’t get much love these days. But Nas obviously has command of language, something which Kanye certainly has in spades, but it’s not shown on Yeezus. For Kanye, Yeezus is a means to the larger end of total global corporate dominance.
“Because I’m sure you’re listening intently to every single word, and not letting the bands sweep you up in a compelling world of sound.”
Except I’m pretty sure if you’re not listening to rap music for people rapping, then you’re doing it wrong. Great bars on a good beat still makes a good song, but great bars on a great beat makes a masterpiece. Sure, beats matter. Sound matters. I like party rap as much as the next 20-something. But when you talk about rap music in specific, lyrics matter most, I think.
Anyway, taking weird and then watering it down for the radio isn’t groundbreaking. Business savy and super-smart, definitely.
Let’s try that again:
I won’t say music “sucked” this year, but I feel like, after how destructive 2009-2012 was, 2013 does seem to break the streak.
I won’t say music “sucked” this year, but I still feel like we after how destructive 2009-2012 was, 2013 does seem to break the streak.
Neither is My Name Is My Name. I know this is sacrilege, but it was much more fun to listen to than Yeezus. At least Pusha T still thinks he should be rapping.
I was literally unable to listen to anything else for the following 72 hours after that album was dropped.
Yeezus grew on me the more I listened to it, because I really thought it was garbage the first time through, but I think people are saying it’s groundbreaking only because Kanye West made it and not some dudes in a basement in NYC. I think its statement is plenty strong, but ‘Ye himself has even stated that rap music isn’t his number one priority anymore, and that definitely shows in his actual rapping.
Run The Jewels is better.
Does “Im Overflow” and “Government Plates” remind anyone else of Bomberman 64?
While Aldhils isn’t a great record, Jennifer Louise is still like my absolute favorite of Montreal song.
My bad, “It’s Never Over”.
I’d like to hear Prince remix “Wait Until It’s Over”. That refrain needs more falsetto.
When I see Arcade Fire touring this album and they do Joan of Arc, I’m gonna be the dude in the front who jumps on the chorus’s downbeat to show everyone that I know the song.
Do a Primus one next.
This is why I kind of like living in a big southern city. There’s a great niche art scene AND I can live in that part of town in a charmingly musky two bedroom 700 square foot apartment RIGHT BEHIND a liquor store, a taco bell, and down the street from two cool dive bars and a record store for 600 bucks a month. I mean that’s practically all you need to live.
You’re all welcome.
Them’s fightin’ words ’round these parts.
Also is anyone else really surprised about how of Montreal’s new album turned out? Shit is actually pretty good.
As far as Old, this whole evaluation is hyperbolic. It’s definitely one of the better rap albums of the year, but Album of the Year period? Nah bruh bruh. After several listens, I still find myself preferring XXX, and not because of all the dick jokes and endlessly quotable quips about pussy and kush, but because the production worked WITH Danny’s voice and flow instead of just occupying the space. Danny’s such a huge sonic presence by his damn self that most of the tracks Old just get in the way. Float On and Lonely are two absolutely fantastic tracks because, ironically, they’re that old Danny Brown.
Kush Coma is my shit though.
Yeezus in the first sentence? That’s gotta be a new Stereogum record.
I’d rather steam Lightning Bolt’s new album Pearl Jam.
I dig it. It’s kind of everything I want PBR&B (do we have a non-derogatory name for that genre yet?) to be.