Ever since the release of Yeezus in 2013, Kanye West’s fans have been biting at the bit for his next album, in hopes that it might fill the void that the radically experimental Yeezus never could. Three years later on Valentine’s Day the pop culture icon ended his torture of the music world with the release of his seventh studio album, The Life of Pablo. After three name changes, several different cover arts, and superfluous amounts of tweeting, TLOP had the opportunity to be the most outlandish of West’s creations. Thankfully, it wasn’t. Although it has many unique elements that only Kanye would bring to the studio, TLOP is much more in touch with its audience than Yeezus. However, for what would could be the farewell album from one of the best to ever touch a microphone, an album that is “better than the last one,” just wouldn't cut it.
The first cut on the album, “Ultralight Beam,” is a gospel rooted grand slam that assures us that West has nothing but good intentions for the record. The chill-inducing hook, “This is a god dream,” belted by a full sounding choir exemplifies all of the hype that the album received prior to its release date. Chance the Rapper’s invigorating innocence is beautiful on his feature and seeing him on the grandest stage possible, a Ye album, garners the utmost respect. The only other song that feels this grandiose is “Waves.” The uplifting instrumental exists somewhere between soul and trap, and is easily one of the best Yeezy has ever made; huge praise to Charlie Heat and Metro Boomin for their contributions. Chris Brown’s work on the chorus is likewise great and I have expertly dubbed it the highlight of his career.
Another song with trap flavor on this project is, “Highlights.” In Young Thug’s debut track with Kanye, light hearted instrumentals and commendable singing by Thug make for a great chorus and overall feel “Famous,” featuring Rihanna, is a thundering track that stands as the most powerful cut on the record. The invigorating beat is easily the banger of the track list. Sadly, there aren’t really any other tracks on the same wavelength as, “Famous,” the closest we get is, “FML,” due to their similarities in structure. The ascending instrumental kicks in about halfway through the song with a raw drum riff that when paired with The Weeknd’s vocals makes for an unforgettable cut.
The pre-released singles, “Real Friends,” and, “No More Parties in LA,” deliver as we knew they would. The reserved, but entertaining instrumental on the first allows for West to spit what may be his best verses on the album, “I’m a deadbeat cousin, I hate family reunions, fuck the church up I’m drinking at the communion.” These lines echo through listener’s ears and makes us all ponder if we are real friends. The latter, “No More Parties in LA,” is a melodically pleasing track that captivates. Kendrick’s verse is wonderful but I will refile the complaint that I had when it came out which is that it sounds like a glorified freestyle.
The album’s drawbacks occur on the songs that are raw, uncut slices of Kanye. Tracks such as, “Feedback,” “Freestyle 4,” and, “Facts,” turn away all but a select few. Yeezy comes off as childish and barely tolerable in this light, and he more than knows this and is probably banking on the exact reaction. I respect when artists do things that they know people won’t like because of what it says about their character. But that being said, nobody wants to make a Speeding Bullet 2 Heaven.
TLOP lived up to its hype. There are countless tracks on here that blow you away, and only a few that could have been left off. Kanye met us halfway between Yeezus Kanye and MBDTF Kanye. This album is a reward for the maturing that we went through since the release of his last full length record. View it as such, and take the highroad. Bask in the pure genius and glory of songs like, “Waves,” and, “FML,” and don’t busy yourself trying to understand Kanye on the lesser tracks, because your grandma would do just as well defining Mr. West as you would.
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