Post 4c: CONTEMPORARY REVIEW: The Life of Pablo - Kanye West

Contemporary Review: The Life of Pablo - Kanye West

9.2/10, Listen Immediately

Note: Just as TLOP is still being revised by its creator after its publication date, so is this review. I have not had the proper time to digest this album, and I will be adding to this review as I continue to listen. I have published this and am more than willing to be graded on my less than fully fleshed out essay, but note that this review will be updated. 

Background: Go find it for yourself in my past Kanye West review. Not only am I not willing to retype a lengthy biography on Kanye West for you, but going back will also present an opportunity to read some of my past work and realize what a terrible reviewer I am. Get on that. 

Review: Despite West's insistence that white people refrain from reviewing his work, here I am, writing a review of The Life Of Pablo. Your race and (by your assumption) my apparent lack of understanding in regards to black music can not save you from my wrath, and by wrath I mean exultant praise. Ladies and gentlemen, Kanye West has done it again. TLOP is an incredible piece of music, fully deserving of praise, as well as slander. 

To commence with said slander, TLOP has one major flaw, as an album: lack of cohesion. These songs feel as if they were thrown together in any random order, and from a variety of recording sessions. Some of them feel like Yeezus outtakes, some of them feel like a return to Kanye West's older days, and one interlude is even a humorous acapella rap. Gone is the perfect symmetry and laser like focus of Kanye's past records, and it is not for the better. Listening to this record in one sitting is a difficult proposition, as the strongly clashing styles can be grating. Yet, many of these songs are context driven as well. It is almost as if West grouped his songs in pairs or thirds when deciding the order, making some songs feel out of place while others are vital to the flow of the album. 

When the songs are taken as individuals, however, this album shines. One particular song about shining, funnily enough, stands out in particular. "Ultra Light Beam" opens the album, and is an early contender for song of the year. Other tracks, such as "Father Stretch My Hands"  and "Pt. 2" are both gorgeous and nightmarish, respectively. These songs, as well as "Waves" and "No More Parties In L.A" are endlessly replayable, and could all exist as lead singles. Some of the other songs are too somber or context driven for casual, repeated play. 

As with any Kanye West album, the production is truly one of the stars here. Stars in this regard are the gorgeous "Ultra Light Beam," the sample driven "No More Parties in L.A," and the ominous "Wolves." Small details run abundant through this album as well, such as the booming drums and subtle horns in "Beam" or the way the choir's lines on "Father Stretch My Hands pt. 1" feeds perfectly into the main sample. The mixing, which delayed the album, is also immaculate. 

Also as with Kanye's past works, each feature here is purposeful and excellent. Not a single guest here fails to deliver, and many give their full effort. Chance The Rapper especially impresses with his staggeringly heartfelt verse on the opener. Kid Cudi reminds us why at one time people actually liked him a few times on here, with his usual moaning whale noises sounding completely vital the the tracks rather than annoying, like they usually do. There is an achingly beautiful surprise feature from Frank Ocean on "Wolves" that, along with benefitting the song, lets us know Mr. Ocean is still with us. 

Many of the songs here are quite short in length but, due to the intricate production,  feel like full length tracks. One great example of this is "Feedback." Although just over two and a half minutes, thus tracks fees much longer (in the best way). The innovative feedback beat is certainly unique, and West raps with great intensity. Another is the Desiigner-sampling "Pt. 2." This extension of "Father Stretch My Hands" is quite a contrast to the gorgeous part 1, as this part is a trap style banger. It lifts its verses entirely from a rapper by the name of Desiigner, who is essentially Future on a budget. Nonetheless, this is another excellent, albeit short, track. 

Overall, this album represents another excellent addition to Kanye's catalogue. The man may be crazy, egotistic, and downright annoying at times, but his genius can not be ignored. The scores of co-writers are not a detriment to the genius of West; rather they point to the fact that West is a fantastic leader who is able to coax the best out of his performers in order to achieve the songs he hears in his head.