Kanye proves he’s still king
Many readers will likely be of the opinion that Kanye West is a misguided buffoon.
That’s an opinion probably formed by hearing something Kanye has said aloud.
He does and says a lot of dumb stuff.
Such as when he repeatedly says he is unquestionably, undoubtedly, the greatest human artist of all time. That sort of banter generates headlines, but really doesn’t win him any friends. He is, though, the most influential beat-maker of his generation.
From scrappy beginnings on The College Dropout through to megalomania on Yeezus, each Kanye album has been a revelation. A musical happening you could not miss. Even 808s & Heartbreak, which was widely scorned at the time, is clearly masterful in retrospect. Its fingerprints are all over today’s pop music.
Lately though, his music has lacked that same unmissable essence, and has suffered from Kanye’s own artistic confusion. Pablo was messy with flashes of genius, but Ye was simply horrific.
Now, Kanye wants you to hear the good news. Have you heard? Jesus has died for your sins, he has risen again, and sits at the right hand of the father in heaven. Kanye has found God and, like most new converts, it’s all he wants to talk about.
Jesus is King is the bestsounding Christian music album in recent memory. Gospel choirs and soul samples rise up in Kanye’s skilful hands, as he orchestrates them through his well-intentioned anthems. It’s concise, consistent and sonically vibrant.
Sure, it’s hard to take him seriously, even though that’s what he so desperately wants.
We took him more seriously before he got so serious. If only he would let the songs speak for themselves, because God Is, Follow God, Everything We Need and, in fact, a lot of this album, is seriously good.
Meanwhile, Cheap Queen is the classy debut album from
New York chanteuse King Princess. At just 20 years old, she’s racked up viral hits with 1950 and Pussy is God, which are both good indicators of what to expect here.
There are smart, sassy, sensual songs that oscillate between 1970s-sounding classic rock ballads and more modern, manufactured pop cuts.
She’s equally comfortable in any style it seems, and the album is easy to enjoy. She has swagger in spades, exuding the kind of utter confidence you only get from being the hottest thing in New York’s indie music scene.
Born Mikaela Straus, she’s a native of the Big Apple, growing up surrounded by musicians, thanks to her father’s job as a sound engineer. The experience shines through on Ain’t Together and Isabel’s Moment, substantial songs handled with musical maturity and selfassuredness.