Kanye west 808s and heartbreak review
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So where does all this experimentation leave us? Well 808s is basically single-handedly responsible for creating “rappers” like Drake. Tracks like Love Lockdown and Robocop demonstrate the potential of such a technique. Yeezy is a good (occasionally great) lyricist, but he completely ignored that talent in order to create something revolutionary. But consider the experiment and its effects. In fact, it’s almost certainly Kanye’s worst studio album. So why am I talking about this album? I don’t think it’s great. The effect does wear a little thin by the time the album closes though (mostly due to weakening lyrics). The combination works better than you’d expect, most of the time. Instead, liberal use of an 808 drum machine meets auto-tuned verses sung mostly (but not exclusively) by West. Sure Yeezy spits a couple of verses here and there, but trading bars has absolutely nothing to do with the thematic qualities of the album. Yes, that is correct, 808s and Heartbreak really isn’t a rap album.
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The most shocking thing about 808s is that Kanye basically forgoes rapping. He isn’t (and hopefully never will be) a gangster, nor does he pretend to be.
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Eminem’s recordings (especially Marshall Mathers) alleviated this with scenes of sadness contrasted by verses of pure rage and shock (to keep with the whole gangsta thing yo). This lack of focus usually (but not always) made the songs themselves nearly meaningless within the scope of the recording. With the possible exception of Eminem, any themes of sadness in mainstream rap pre-808s were trapped between tracks about capping thugs. Emotional downturns are pretty much the most-used (overused) theme of music in general, but certainly not in rap. That’s where he went, and the album’s title is uncannily fitting. When Graduation dropped in 2007, it was obvious to anyone paying any attention to the rap scene that Kanye was at the absolute top of his game, and everyone wondered where he would go after the glorious finale of the trifecta of college-themed recordings.
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The previously-good production was further expanded, and Kanye’s artistic license was smeared all over the record’s deep basses and poppy choruses. The album was more ambitious, and produced a wide variety of songs that will probably be considered classics of the genre a decade from now.
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Late Registration dropped a year later and successfully established West as a legitimate contender. Instead, he talked about his life and experiences (mostly real) without any of Eminem’s self-indulgent whining. Yeezy introduced himself as a rapper who wasn’t a gangster, backpacker or political lyricist. To me, this album was an absolute breath of fresh air. He opened his studio career with 2004’s playful The College Dropout. So why would we single out Kanye? Because he criticized Taylor Swift (while intoxicated) at an awards ceremony that is pretty much acknowledged as a joke? Do we really care that much about America’s talentless Southern sweetheart who spews the country’s favorite clichés? So why do I listen to him so much? First of all, the land of assholery counts among its citizens such artists as Lars Ulrich, Bono, Lou Reed, both Gallaghers and pretty much any punk frontman ever. There is no doubt in my mind when I make that statement. Kanye West is an (international) asshole.