Moderators: TheBigSleep, stype_ones, Philaflava
Yeah, at the end of the song. That's why I brought up Shock G too.DLG wrote: Outkast has been doing the long instrumental interlude in the middle of a rap song thing for a while, though, I mean, kanye's not reinventing the wheel.
That instrumental build up into the chanting at the end of B.O.B. is one of the greatest musical moments ever for me.
B.O.B. is my personal top10 beat ever.Apathwhy wrote:cosigned. when the choir comes in. OMMFGDLG wrote:That instrumental build up into the chanting at the end of B.O.B. is one of the greatest musical moments ever for me.
I totally feel you on that. It's not enough to ruin the rest of the song for me, but it is highly annoying.pradadon wrote:That Black Sabbath gimmick was corny as fuck to me though on the hook. The beat I could tolerate but the hook destroys the song for me.Apathwhy wrote:
Hell of a Life is insane. ya'll crazy.
That's my main problem with this album. It's fucking atrocious on Dark Fantasy with that toooooooys/noooiiiiose part. And the intro is one the most annoying things I've ever heard in my life and I would find myself embarrassed if someone heard me listening to it.step one wrote:could be down to the way he elongates the final word in each sentence and has a really awkward flow.Philaflava wrote:The album is dope. I'm playing this more than any other release these past months, yet I struggle to accept Kanye as an emcee. Why?
This shit is funny. Honestly it can be said about just about any hip-hop producer though...however it is funnier because it's pointed at Kanye.Brougham33 wrote:http://www.usmagazine.com/moviestvmusic ... m-20102211
Us: Kanye West is similar to you in that he's the producer everybody wants to work with in the last decade....
QJ: How man? No way. Did he write for a symphony orchestra? Does he write for a jazz orchestra? Come on, man. He's just a rapper. There's no comparison. I'm not putting him down or making a judgement or anything, but we come from two different sides of the planet. I spent 28 years learning my first skill. I don't rap. It's not the same thing. A producer has to have some sort of skills that enable him to be a producer. It's totally different to know what to do with 16 woodwinds you know from piccolos down to bass clarinet. It's a whole different mindset. No comparison. None.
Us: What do you think of him?
QJ: I don't think about him much. He's a great rapper, but there are a lot of good rappers.
Fuck chopping samples, I got 16 woodwinds.
As anyone with a pulse and an Internet connection will tell you, we are in the midst of the Yeezyocalypse. Today is the dawn of Armageddon and already My Beautiful Dark Twisted Fantasy has received more critical fellating than any record since Kid A dropped a decade ago. My feeble voice of dissent in this whole spectacle will be akin to shouting into a hurricane. Iגm content with that.
Based on the acclaim heaped upon this 68-minute behemoth, one could hardly be faulted for thinking that weגve been blessed with a Whatגs Going On for our era, a landmark artistic achievement that will become more cherished and timeless with each passing year. Debating the albumגs importance, even on its date of release, is an exercise in folly; the pundits and tastemakers have covered that ground for us already. What matters is the emotional resonance that exists between MBDTF and you, the listener. For me, that connection is about as intimate as an undiscovered life form in another galaxy.
Not that any of this should come as a shocking revelation. Kanye Westגs music lost all relevance to me years ago. I tolerated him in the past because I felt his shortcomings as a musician were compensated by his candor as a human being. As a rapper, his lyricism (Iגm being generous here) was clunky and awkward at best, but you could forgive his flat punchlines and pedestrian rhyme schemes because he was clearly having a good time and seemed to genuinely believe in what he was doing. But somewhere around Graduation I jumped ship, and didnגt even bother to rubberneck past the electro-plop train wreck that was 808s. Like most listeners, I have to relate to an artist at some level in order to appreciate and enjoy their work and it generally starts with likability, which Mr. West lost somewhere around the time that Rolling Stone cover hit the newsstands. Now I regard him as little more than a media whore, an attention-grabbing blowhard devoid of reason, taste, or modesty.
Look, I renounced my faith in hip hop years ago, so Iגll spare you some weak-assed attempt at placing MBDTF within its context, or even that of contemporary pop musicגs. My ears may not be as sharp as they were ten years ago but they can still recognize a forward-thinking envelope-pusher when they hear one, and Iגm here to tell you that this ainגt one of them. Kanye West isnגt breaking the mold of the Assembly-Line Pop Artist here. Heגs not spearheading a musical revolution. Grandiose does not equal groundbreaking (see: Arcade Fire, The). Itגs critical as experienced listeners that we recognize the distinction between the two. (You want a taste of the future? Itגs called Nuclear Evolution: The Age of Love and it was released last year by Sa-Ra Creative Partners. Only about six people bothered to give it a listen.) Scores of bands and artists have raised the bar for pop music in the past half-century but theyגve done it with style, class, and intelligence. I hear exactly zero of those characteristics in this record.
MBDTF is an exhausting experience, one of those headaches that begins throbbing behind your retinas and eventually extends to the base of your skull. There is no subtlety to it; from its introductory moments, itגs a full-on sonic assault for over an hour. Everything is maximized to battering-ram intensity. Somewhere around גPowerג the ear canal eventually succumbs to the aural gang-rape and begins to discern its ugly, contemptible features through the layers of digital distortion: auto-tuned abortions (גHell of a Life,ג גLost in the Worldג), tasteless tip-of-the-hats to גdouchebagsג and גassholesג (גRunawayג), bizarre altered-universe appearances from RZA-as-mongoloid (גSo Appalledג) and an irritating mid-pass-filter-Raekwon (גGorgeousג), numerous song lengths that expire three to four minutes past their sell-by dates, and piano etudes that sound like they were penned by an eight-year-old (גAll of the Lightsג). Itגs a mess, a kaleidoscopic nightmare overflowing with too much of everything and steered off the edge of the cliff by Kanyeגs unchecked ego, misguided ambition, and limitless resources.
Kanye West and his music perfectly encapsulate everything that is fundamentally wrong with pop music and pop culture right now. Itגs the reason why I occasionally gnash my teeth in my sleep, why I refuse to watch television anymore, and why my gaze never strays from my shopping cart when Iגm standing in the checkout line at the market. Itגs unwarranted and self-made celebrity; itגs endless, narcissistic self-isolation on a Facebook page. Its bloated, glitzy splendor is the equivalent of a gated subdivision full of vacant McMansions. Itגs everything Iגm trying to eliminate from my life in 2010: unnecessary noise and excess.
I dont know if it wouldve fit on the album per se, but this shit is dope as hell minus Consequence. Just wasnt feeling him using "chain" every other line...worked on "Gone" but not as much here.ardamus wrote:just heard that Chain Heavy w/Talib Kweli and Consequence. Q-Tip on the beat. that shit should've been on the album.
who wrote this?vinylpops wrote:As anyone with a pulse and an Internet connection will tell you, we are in the midst of the Yeezyocalypse. Today is the dawn of Armageddon and already My Beautiful Dark Twisted Fantasy has received more critical fellating than any record since Kid A dropped a decade ago. My feeble voice of dissent in this whole spectacle will be akin to shouting into a hurricane. Iגm content with that.
Based on the acclaim heaped upon this 68-minute behemoth, one could hardly be faulted for thinking that weגve been blessed with a Whatגs Going On for our era, a landmark artistic achievement that will become more cherished and timeless with each passing year. Debating the albumגs importance, even on its date of release, is an exercise in folly; the pundits and tastemakers have covered that ground for us already. What matters is the emotional resonance that exists between MBDTF and you, the listener. For me, that connection is about as intimate as an undiscovered life form in another galaxy.
Not that any of this should come as a shocking revelation. Kanye Westגs music lost all relevance to me years ago. I tolerated him in the past because I felt his shortcomings as a musician were compensated by his candor as a human being. As a rapper, his lyricism (Iגm being generous here) was clunky and awkward at best, but you could forgive his flat punchlines and pedestrian rhyme schemes because he was clearly having a good time and seemed to genuinely believe in what he was doing. But somewhere around Graduation I jumped ship, and didnגt even bother to rubberneck past the electro-plop train wreck that was 808s. Like most listeners, I have to relate to an artist at some level in order to appreciate and enjoy their work and it generally starts with likability, which Mr. West lost somewhere around the time that Rolling Stone cover hit the newsstands. Now I regard him as little more than a media whore, an attention-grabbing blowhard devoid of reason, taste, or modesty.
Look, I renounced my faith in hip hop years ago, so Iגll spare you some weak-assed attempt at placing MBDTF within its context, or even that of contemporary pop musicגs. My ears may not be as sharp as they were ten years ago but they can still recognize a forward-thinking envelope-pusher when they hear one, and Iגm here to tell you that this ainגt one of them. Kanye West isnגt breaking the mold of the Assembly-Line Pop Artist here. Heגs not spearheading a musical revolution. Grandiose does not equal groundbreaking (see: Arcade Fire, The). Itגs critical as experienced listeners that we recognize the distinction between the two. (You want a taste of the future? Itגs called Nuclear Evolution: The Age of Love and it was released last year by Sa-Ra Creative Partners. Only about six people bothered to give it a listen.) Scores of bands and artists have raised the bar for pop music in the past half-century but theyגve done it with style, class, and intelligence. I hear exactly zero of those characteristics in this record.
MBDTF is an exhausting experience, one of those headaches that begins throbbing behind your retinas and eventually extends to the base of your skull. There is no subtlety to it; from its introductory moments, itגs a full-on sonic assault for over an hour. Everything is maximized to battering-ram intensity. Somewhere around גPowerג the ear canal eventually succumbs to the aural gang-rape and begins to discern its ugly, contemptible features through the layers of digital distortion: auto-tuned abortions (גHell of a Life,ג גLost in the Worldג), tasteless tip-of-the-hats to גdouchebagsג and גassholesג (גRunawayג), bizarre altered-universe appearances from RZA-as-mongoloid (גSo Appalledג) and an irritating mid-pass-filter-Raekwon (גGorgeousג), numerous song lengths that expire three to four minutes past their sell-by dates, and piano etudes that sound like they were penned by an eight-year-old (גAll of the Lightsג). Itגs a mess, a kaleidoscopic nightmare overflowing with too much of everything and steered off the edge of the cliff by Kanyeגs unchecked ego, misguided ambition, and limitless resources.
Kanye West and his music perfectly encapsulate everything that is fundamentally wrong with pop music and pop culture right now. Itגs the reason why I occasionally gnash my teeth in my sleep, why I refuse to watch television anymore, and why my gaze never strays from my shopping cart when Iגm standing in the checkout line at the market. Itגs unwarranted and self-made celebrity; itגs endless, narcissistic self-isolation on a Facebook page. Its bloated, glitzy splendor is the equivalent of a gated subdivision full of vacant McMansions. Itגs everything Iגm trying to eliminate from my life in 2010: unnecessary noise and excess.
One of the guys from Passion of the Weiss. Don't think it was Jeff.GM Dizzy Skillespie wrote:who wrote this?vinylpops wrote:As anyone with a pulse and an Internet connection will tell you, we are in the midst of the Yeezyocalypse. Today is the dawn of Armageddon and already My Beautiful Dark Twisted Fantasy has received more critical fellating than any record since Kid A dropped a decade ago. My feeble voice of dissent in this whole spectacle will be akin to shouting into a hurricane. Iגm content with that.
Based on the acclaim heaped upon this 68-minute behemoth, one could hardly be faulted for thinking that weגve been blessed with a Whatגs Going On for our era, a landmark artistic achievement that will become more cherished and timeless with each passing year. Debating the albumגs importance, even on its date of release, is an exercise in folly; the pundits and tastemakers have covered that ground for us already. What matters is the emotional resonance that exists between MBDTF and you, the listener. For me, that connection is about as intimate as an undiscovered life form in another galaxy.
Not that any of this should come as a shocking revelation. Kanye Westגs music lost all relevance to me years ago. I tolerated him in the past because I felt his shortcomings as a musician were compensated by his candor as a human being. As a rapper, his lyricism (Iגm being generous here) was clunky and awkward at best, but you could forgive his flat punchlines and pedestrian rhyme schemes because he was clearly having a good time and seemed to genuinely believe in what he was doing. But somewhere around Graduation I jumped ship, and didnגt even bother to rubberneck past the electro-plop train wreck that was 808s. Like most listeners, I have to relate to an artist at some level in order to appreciate and enjoy their work and it generally starts with likability, which Mr. West lost somewhere around the time that Rolling Stone cover hit the newsstands. Now I regard him as little more than a media whore, an attention-grabbing blowhard devoid of reason, taste, or modesty.
Look, I renounced my faith in hip hop years ago, so Iגll spare you some weak-assed attempt at placing MBDTF within its context, or even that of contemporary pop musicגs. My ears may not be as sharp as they were ten years ago but they can still recognize a forward-thinking envelope-pusher when they hear one, and Iגm here to tell you that this ainגt one of them. Kanye West isnגt breaking the mold of the Assembly-Line Pop Artist here. Heגs not spearheading a musical revolution. Grandiose does not equal groundbreaking (see: Arcade Fire, The). Itגs critical as experienced listeners that we recognize the distinction between the two. (You want a taste of the future? Itגs called Nuclear Evolution: The Age of Love and it was released last year by Sa-Ra Creative Partners. Only about six people bothered to give it a listen.) Scores of bands and artists have raised the bar for pop music in the past half-century but theyגve done it with style, class, and intelligence. I hear exactly zero of those characteristics in this record.
MBDTF is an exhausting experience, one of those headaches that begins throbbing behind your retinas and eventually extends to the base of your skull. There is no subtlety to it; from its introductory moments, itגs a full-on sonic assault for over an hour. Everything is maximized to battering-ram intensity. Somewhere around גPowerג the ear canal eventually succumbs to the aural gang-rape and begins to discern its ugly, contemptible features through the layers of digital distortion: auto-tuned abortions (גHell of a Life,ג גLost in the Worldג), tasteless tip-of-the-hats to גdouchebagsג and גassholesג (גRunawayג), bizarre altered-universe appearances from RZA-as-mongoloid (גSo Appalledג) and an irritating mid-pass-filter-Raekwon (גGorgeousג), numerous song lengths that expire three to four minutes past their sell-by dates, and piano etudes that sound like they were penned by an eight-year-old (גAll of the Lightsג). Itגs a mess, a kaleidoscopic nightmare overflowing with too much of everything and steered off the edge of the cliff by Kanyeגs unchecked ego, misguided ambition, and limitless resources.
Kanye West and his music perfectly encapsulate everything that is fundamentally wrong with pop music and pop culture right now. Itגs the reason why I occasionally gnash my teeth in my sleep, why I refuse to watch television anymore, and why my gaze never strays from my shopping cart when Iגm standing in the checkout line at the market. Itגs unwarranted and self-made celebrity; itגs endless, narcissistic self-isolation on a Facebook page. Its bloated, glitzy splendor is the equivalent of a gated subdivision full of vacant McMansions. Itגs everything Iגm trying to eliminate from my life in 2010: unnecessary noise and excess.
It's a really poorly written, hysterical review. Did you quote because you agree with it?vinylpops wrote:One of the guys from Passion of the Weiss. Don't think it was Jeff.GM Dizzy Skillespie wrote:who wrote this?vinylpops wrote:As anyone with a pulse and an Internet connection will tell you, we are in the midst of the Yeezyocalypse. Today is the dawn of Armageddon and already My Beautiful Dark Twisted Fantasy has received more critical fellating than any record since Kid A dropped a decade ago. My feeble voice of dissent in this whole spectacle will be akin to shouting into a hurricane. Iגm content with that.
Based on the acclaim heaped upon this 68-minute behemoth, one could hardly be faulted for thinking that weגve been blessed with a Whatגs Going On for our era, a landmark artistic achievement that will become more cherished and timeless with each passing year. Debating the albumגs importance, even on its date of release, is an exercise in folly; the pundits and tastemakers have covered that ground for us already. What matters is the emotional resonance that exists between MBDTF and you, the listener. For me, that connection is about as intimate as an undiscovered life form in another galaxy.
Not that any of this should come as a shocking revelation. Kanye Westגs music lost all relevance to me years ago. I tolerated him in the past because I felt his shortcomings as a musician were compensated by his candor as a human being. As a rapper, his lyricism (Iגm being generous here) was clunky and awkward at best, but you could forgive his flat punchlines and pedestrian rhyme schemes because he was clearly having a good time and seemed to genuinely believe in what he was doing. But somewhere around Graduation I jumped ship, and didnגt even bother to rubberneck past the electro-plop train wreck that was 808s. Like most listeners, I have to relate to an artist at some level in order to appreciate and enjoy their work and it generally starts with likability, which Mr. West lost somewhere around the time that Rolling Stone cover hit the newsstands. Now I regard him as little more than a media whore, an attention-grabbing blowhard devoid of reason, taste, or modesty.
Look, I renounced my faith in hip hop years ago, so Iגll spare you some weak-assed attempt at placing MBDTF within its context, or even that of contemporary pop musicגs. My ears may not be as sharp as they were ten years ago but they can still recognize a forward-thinking envelope-pusher when they hear one, and Iגm here to tell you that this ainגt one of them. Kanye West isnגt breaking the mold of the Assembly-Line Pop Artist here. Heגs not spearheading a musical revolution. Grandiose does not equal groundbreaking (see: Arcade Fire, The). Itגs critical as experienced listeners that we recognize the distinction between the two. (You want a taste of the future? Itגs called Nuclear Evolution: The Age of Love and it was released last year by Sa-Ra Creative Partners. Only about six people bothered to give it a listen.) Scores of bands and artists have raised the bar for pop music in the past half-century but theyגve done it with style, class, and intelligence. I hear exactly zero of those characteristics in this record.
MBDTF is an exhausting experience, one of those headaches that begins throbbing behind your retinas and eventually extends to the base of your skull. There is no subtlety to it; from its introductory moments, itגs a full-on sonic assault for over an hour. Everything is maximized to battering-ram intensity. Somewhere around גPowerג the ear canal eventually succumbs to the aural gang-rape and begins to discern its ugly, contemptible features through the layers of digital distortion: auto-tuned abortions (גHell of a Life,ג גLost in the Worldג), tasteless tip-of-the-hats to גdouchebagsג and גassholesג (גRunawayג), bizarre altered-universe appearances from RZA-as-mongoloid (גSo Appalledג) and an irritating mid-pass-filter-Raekwon (גGorgeousג), numerous song lengths that expire three to four minutes past their sell-by dates, and piano etudes that sound like they were penned by an eight-year-old (גAll of the Lightsג). Itגs a mess, a kaleidoscopic nightmare overflowing with too much of everything and steered off the edge of the cliff by Kanyeגs unchecked ego, misguided ambition, and limitless resources.
Kanye West and his music perfectly encapsulate everything that is fundamentally wrong with pop music and pop culture right now. Itגs the reason why I occasionally gnash my teeth in my sleep, why I refuse to watch television anymore, and why my gaze never strays from my shopping cart when Iגm standing in the checkout line at the market. Itגs unwarranted and self-made celebrity; itגs endless, narcissistic self-isolation on a Facebook page. Its bloated, glitzy splendor is the equivalent of a gated subdivision full of vacant McMansions. Itגs everything Iגm trying to eliminate from my life in 2010: unnecessary noise and excess.
honestly, I think Dark Fantasy, All of the Lights, and Power Remix (I know it's not on the album but it's one of the best rap songs I've heard this year) are better.Kid That's Lifeless wrote:I'm not reading through 14 pages, but has Devil in a New Dress been mentioned as the best song of the year? Album is incredible, but this song is on another level.
Gonna be ill, putting it up on TR136 next month so be on the fucking lookout.What isn't poorly written on blogs? Blogs are published first drafts.Thun wrote:It's a really poorly written, hysterical review. Did you quote because you agree with it?vinylpops wrote:One of the guys from Passion of the Weiss. Don't think it was Jeff.GM Dizzy Skillespie wrote:who wrote this?vinylpops wrote:As anyone with a pulse and an Internet connection will tell you, we are in the midst of the Yeezyocalypse. Today is the dawn of Armageddon and already My Beautiful Dark Twisted Fantasy has received more critical fellating than any record since Kid A dropped a decade ago. My feeble voice of dissent in this whole spectacle will be akin to shouting into a hurricane. Iגm content with that.
Based on the acclaim heaped upon this 68-minute behemoth, one could hardly be faulted for thinking that weגve been blessed with a Whatגs Going On for our era, a landmark artistic achievement that will become more cherished and timeless with each passing year. Debating the albumגs importance, even on its date of release, is an exercise in folly; the pundits and tastemakers have covered that ground for us already. What matters is the emotional resonance that exists between MBDTF and you, the listener. For me, that connection is about as intimate as an undiscovered life form in another galaxy.
Not that any of this should come as a shocking revelation. Kanye Westגs music lost all relevance to me years ago. I tolerated him in the past because I felt his shortcomings as a musician were compensated by his candor as a human being. As a rapper, his lyricism (Iגm being generous here) was clunky and awkward at best, but you could forgive his flat punchlines and pedestrian rhyme schemes because he was clearly having a good time and seemed to genuinely believe in what he was doing. But somewhere around Graduation I jumped ship, and didnגt even bother to rubberneck past the electro-plop train wreck that was 808s. Like most listeners, I have to relate to an artist at some level in order to appreciate and enjoy their work and it generally starts with likability, which Mr. West lost somewhere around the time that Rolling Stone cover hit the newsstands. Now I regard him as little more than a media whore, an attention-grabbing blowhard devoid of reason, taste, or modesty.
Look, I renounced my faith in hip hop years ago, so Iגll spare you some weak-assed attempt at placing MBDTF within its context, or even that of contemporary pop musicגs. My ears may not be as sharp as they were ten years ago but they can still recognize a forward-thinking envelope-pusher when they hear one, and Iגm here to tell you that this ainגt one of them. Kanye West isnגt breaking the mold of the Assembly-Line Pop Artist here. Heגs not spearheading a musical revolution. Grandiose does not equal groundbreaking (see: Arcade Fire, The). Itגs critical as experienced listeners that we recognize the distinction between the two. (You want a taste of the future? Itגs called Nuclear Evolution: The Age of Love and it was released last year by Sa-Ra Creative Partners. Only about six people bothered to give it a listen.) Scores of bands and artists have raised the bar for pop music in the past half-century but theyגve done it with style, class, and intelligence. I hear exactly zero of those characteristics in this record.
MBDTF is an exhausting experience, one of those headaches that begins throbbing behind your retinas and eventually extends to the base of your skull. There is no subtlety to it; from its introductory moments, itגs a full-on sonic assault for over an hour. Everything is maximized to battering-ram intensity. Somewhere around גPowerג the ear canal eventually succumbs to the aural gang-rape and begins to discern its ugly, contemptible features through the layers of digital distortion: auto-tuned abortions (גHell of a Life,ג גLost in the Worldג), tasteless tip-of-the-hats to גdouchebagsג and גassholesג (גRunawayג), bizarre altered-universe appearances from RZA-as-mongoloid (גSo Appalledג) and an irritating mid-pass-filter-Raekwon (גGorgeousג), numerous song lengths that expire three to four minutes past their sell-by dates, and piano etudes that sound like they were penned by an eight-year-old (גAll of the Lightsג). Itגs a mess, a kaleidoscopic nightmare overflowing with too much of everything and steered off the edge of the cliff by Kanyeגs unchecked ego, misguided ambition, and limitless resources.
Kanye West and his music perfectly encapsulate everything that is fundamentally wrong with pop music and pop culture right now. Itגs the reason why I occasionally gnash my teeth in my sleep, why I refuse to watch television anymore, and why my gaze never strays from my shopping cart when Iגm standing in the checkout line at the market. Itגs unwarranted and self-made celebrity; itגs endless, narcissistic self-isolation on a Facebook page. Its bloated, glitzy splendor is the equivalent of a gated subdivision full of vacant McMansions. Itגs everything Iגm trying to eliminate from my life in 2010: unnecessary noise and excess.
, but at least he had some good one liners.
about that