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The song begins with church-like organ chords. It lures us into this sense of security and calm, but then is suddenly cut off with descriptions of supermodels and fascinations with sex. Is this almost a type of confession for Kanye? Where on My Beautiful Dark Twisted Fantasy he would glorify such a lifestyle, now it seems to be an obsession that Kanye wants to draw attention to (“I’m gonna lose my mind in it”). The hook is quick, sensual, almost a whisper, punctuated by a fat sub-bass and heavy breathing. It’s garnered a lot of negative attention, with some saying that it’s annoying (they frequently use Kanye’s poopity-scoop-woop as a yard stick from which to measure outlandish off-the-mark creativity – here is no different). I, however, find it eerily haunting, like the voice of his subconscious. Not as haunting as these distorted sample chops that cut the track in half like a demented cannibal. This is not a sexy groove-laden testament to sex, but the portrayal of its deep and dark side.
Wouldn’t Leave ft. PARTYNEXTDOOR
In direct contrast to sexual obsession on ‘All Mine’, this track focuses on loyalty, and the mishaps during a relationship. PARTYNEXTDOOR (DESPITE HIS ODD OBSESSION WITH CAPITAL LETTERS) offers a tender performance as Kanye outlets about his and Kim Kardashian’s relationship. In fact, this is some of Kanye’s best lyricism for a while – his pun of ‘sentimental’ and ‘sent to mental’ had me pulling some type of face. The latter part of the track sees Kanye flexing his production skills with vocal layering, very much reminiscent of the success of ‘Ultralight Beams’ on The Life of Pablo. Some may say it’s derivative, but it still hits the mark.
No mistakes? On a Kanye record? Whilst the assertion of ‘making no mistake’ is addressed to a girl, it seems more appropriate that Kanye directs this love towards fame, popularity; his fans. This is old Kanye, vintage Kanye – it sounds something that could very easily sit on Graduation or The College Dropout. It sees him once again sampling soul, but still being heavy and brash. The middle of the track sees Kanye venture off in what appears to be a not-so-subtle shot at Drake, who recently took aim at Kanye in his Pusha T diss. A nice track, though quite short.
If you have read my review to Kanye and Kid Cudi’s joint effort Kids See Ghosts, you will know that I’m not the biggest fan of this track. Though it does sort of set the tone for that album, what with its rock and fragmented elements, but it just comes off as such a mess. The guitar chords sound drunk, Cudi sounds dreary and horrible, Kanye’s singing is off-key and sounds like a six-year-old invited up for a cute performance at karaoke. The female vocals are okay, I suppose. For better – see Kids See Ghosts.
This is a nice closer. The chords are spacey and smooth and sets a lovely backdrop for Kanye to muse on his attitude to women now that he has a daughter. It’s nice and meditative, a well-needed discussion within an industry that has historically not been too great towards women.
Image Credits: pitchfork.com