Kanye West is a man who needs little introduction. He debuted with his “Higher Education Trilogy,” which ran from 2004 to 2007 and featured three of the most revolutionary records in rap history. The career that followed was nothing short of incredible, seeing Kanye drop a total of nine studio albums, each radically different from each other and often more than a few years ahead of his contemporaries, conceptually. Throughout Ye’s decade and a half long career, genres and rappers have come and gone, but his quality content has always been a staple in the hip-hop world. So too, has his controversy.
From his early entry to the game amidst near constant criticism and accusations that he was softening the genre too much, to his very public beef with 50 Cent. From his infamous TIME Magazine cover to his online pleads with Mark Zuckerberg for a multi-million dollar loan, and of course his constant stage storming impulse and subsequent Taylor Swift beef. Observant fans and music lovers have developed this general rule of thumb: as soon as Kanye does something ridiculous and lands in headlines, new music is following close behind. This rule proved exceptionally prophetic when West’s vocal support for Donald Trump and ensuing disagreements with fellow musicians was followed, not only by the newest Pusha T album, on which he worked heavily, but with another album of his own, simply titled: Ye.
This record stands out in Kanye’s discography for a few key reasons. The first of these is its length. On the whole, the seven songs come in at just under 25 minutes, meaning Ye would easily qualify as an EP rather than an LP, had he chosen to market it differently. The second difference is the lack of a theme.
Historically, each Kanye record is meant to move in a wildly new direction. This was true, even within his debut trilogy, with each albums sounding far different than its predecessor. On Ye, however, Kanye seems even less focused than normal, finding a few interesting beats and rhyme schemes, but never really stumbling upon one unifying theme. But, there is quite a bit to enjoy.
The opening track, “I Thought About Killing You” is one such enjoyable moment. It finds Kanye speaking freely in a sort of stream of consciousness while manipulating the pitch of his voice and finding his way to a few repeated phrases, all over a simple but spacey beat. The vocal performance is reminiscent of some of Childish Gambino’s early work, but the lyricism is much more impressive. There’s no real word play or anything on this track, but it’s interesting to hear West just say the kinds of things that people aren’t supposed to. He doesn’t try to be clever, and even jokes about how he should probably sugar coat it, but he refuses to and when he finally breaks into a more fully formed outro, he’s putting a solid finish on my favorite track of the project.
Sadly, its all downhill from there. “Yikes” comes off like a B-side from 2016’s The Life of Pablo with a few regressive statements about women tossed in for good measure and “All Mine” is an alright track ruined by terrible lyrics and a grating, falsetto hook.
Of course, this is followed by the worst track on the whole album, “Wouldn’t Leave.” This functions, essentially, as a public love letter to Kim Kardashian. Kanye apologizes for the apparent stress that his recent political outbursts have brought upon his wife, as well as constantly affirming that he still loves her. While the track is somewhat listenable and the runtime is mercifully short, it’s still one of the worst tracks in Kanye’s career.
“No Mistakes” is quite enjoyable and provides a brief respite from what we’ve just heard. The lyrics are, again, cringe-worthy, but the instrumental is sweet and soulful, and the beat is worth listening to.
The record closes with “Ghost Town” and “Violent Crimes,” both of which are quite enjoyable and show off Kanye’s production skills well. Again, the lyrics are exceptionally poor, even for West, but tracks are smooth and very listenable. The texture of the backing vocals on “Violent Crimes” is very creative, and the Nicki Minaj feature is even worked in quite well, considering her usual ability to ruin any song she touches.
Overall, Ye is undoubtedly the worst project in a long career, but its not completely without merit. A few of the tracks will certainly find their way into public favor, and the album as a whole sounds like seven very solid demo’s for a new, full length Kanye West LP. Sadly, this record needed at least another year worth of work, filling out the runtime, finding central lyrical and musical themes, and just generally improving the quality of the whole project. Instead, we were given an unfinished and uneventful half hour of music, which does little to excuse his recent erraticism and will likely be remembered as the first, and hopefully only blemish on an otherwise legendary career.
HEAR THE ALBUM: https://open.spotify.com/album/5EBGCvO6upi3GNknMVe9x9