Friday, June 01, 2018
Album Review: Kanye West- Ye
I’ve long tolerated the erratic behavior of my favorite artist of the millennium. I stuck with him when he cancelled a concert in Atlanta after I booked a non-refundable trip to see him at Philips Arena. Even his unsettling flirtation with the current president didn’t phase me. I’m firmly in the music-is-the-only-thing-that-matters camp.
Each of Kanye West’s first seven albums is a masterpiece. Released today, his eighth album Ye ends that remarkable streak. While it’s enormously entertaining and endlessly fascinating, Ye isn’t up to West’s colossal standard.
After listening to the 23-minute project on repeat for hours on end, I’ve concluded that only the druggy gospel of “Ghost Town”- a mashup of the styles of Queen, Rihanna and Kirk Franklin- is exceptional. The punchline lyrics and inconsistent production on the other six tracks betray a lack of focus.
West flew higher than anyone for more than 15 years. While Ye can’t be characterized as a crash landing, it’s an extremely bumpy return to earth.
I write weekly music previews for The Kansas City Star.
I examined Grizzly Bear’s return to the Middle of the Map festival for The Kansas City Star.
I recently became obsessed with a premium brand of cream soda. The empty calories infuse me with a fleeting sense of euphoria. The silky production on J Balvin’s lightweight Vibras is similarly satisfying. Here’s “Ambiente”.
Tia Fuller’s Diamond Cut is precisely the sort of thrilling mainstream jazz album I keep waiting for a Kansas City musician (other than Bobby Watson) to make.
The song titles and press release for Awase, the latest effort of Nik Bärtsch’s Ronin, are painfully pretentious. The music, however, is genuinely funky, albeit in a Swiss kind of way. RIYL: Manu Katché, bass clarinet, the Esbjörn Svensson Trio.
(Original image by There Stands the Glass.)