Worth lis­ten­ing to

South Waikato News - - NEWS - By SIENA YATES

Af­ter the world­wide video pro­jec­tions, the (ev­i­dently short-lived) and high se­cu­rity em­bar­goYeezus had a lot to live up to.

So I was lit­tle dis­heart­ened, Kanye, when the al­bum opened with the overly syn­thy and strangely dis­con­nected On Sight.

But Black Skin­head fol­lowed it with a tribal beat lay­ing the foun­da­tion to a tex­tured and well con­structed track, be­fore the al­bum moved on in a much more promis­ing di­rec­tion.

Yeezus has been praised as raw and stripped back but with its grat­ing elec­tro sirens, growls and un­ex­pected bursts of what can only be de­scribed as noise, it’s ques­tion­able.

Through­out the fi­nale, Bound 2 in­ex­pli­ca­bly sam­ples the open­ing of coun­try singer Brenda Lee’s Sweet Noth­ings, dropped in a way so dis­jointed and ran­dom it’s like lis­ten­ing to a DJ who hasn’t quite mas­tered a smooth tran­si­tion.

In say­ing that, as frag­mented as it may be at times, it’s ob­vi­ous that some­one has painstak­ingly sat in the edit­ing booth work­ing at th­ese sounds and the ex­per­i­ment­ing ( thank­fully) works more of­ten than not.

Yeezus has a fair hand­ful of strong tracks, some re­call­ing clas­sic Kanye and some show­ing his more de­vel­oped and ac­ces­si­ble side.

One such track is Blood on the Leaves which has a mix that should be jar­ring but some­how flows sur­pris­ingly well, go­ing from hard and raw to soft and melodic all while sit­ting on top of the kind of strong rhyth­mic beat akin to those that many of Kanye’s hits have been built on.

Whether the down­sides of Yeezus are due sim­ply to over-ex­per­i­ment­ing, be­ing dif­fer­ent for the sake of be­ing dif­fer­ent or good ol’ Kanye ego, it’s def­i­nitely chal­leng­ing but as a record, un­de­ni­ably amaz­ing.

I can’t guar­an­tee fans or any spe­cific type of lis­tener is go­ing to like it but I can prom­ise you it’s worth a lis­ten.

RE­VIEWED: Kayne West’s lat­est al­bum Yeezus.

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