The Lost Greatness of Kanye West: A Review of “Vultures 1”
The Tragic Decline of a Musical Maestro
One of the great tragedies in 21st-century popular music is how the words “new Kanye West album” went from meaning “thrilling expression of pathfinding nowness” to “sad guy saying more gross stuff.” It is an undoing that leaves us mourning a lost greatness. Kanye West, the fallen maestro, seems determined to persist in his hateful and annoying ways, making the grief for his downfall seemingly impossible.
A Glimmer of Hope: “Vultures 1”
But amidst the disappointment, there is a faint ray of light. Ye’s latest album, “Vultures 1,” released under his full name, stands as a co-billing with the robust R&B singer Ty Dolla $ign. It is arguably his most coherent and thoughtful effort in years, though when compared to his previous three outings, “Ye,” “Jesus is King,” and “Donda,” this is not saying much. Those projects seemed to unravel as you listened, showcasing a devolution from his once-artful snarling to a state of carelessness and myopia.
From Impulse to Carelessness
Kanye West’s impulsiveness was once his greatest strength, injecting his rap hits with spontaneous and surprising elements that defined an era. However, somewhere after his critically acclaimed 2013 album, “Yeezus,” his brashness transformed into carelessness, resulting in slushy and myopic music.
Recycled Timbres without New Perspectives
With “Vultures 1,” Kanye West offers no new sounds, instead relying on recycled timbres from his extensive catalogue. Similarly, there is an absence of fresh perspectives, as the album becomes a platform for airing grievances and wallowing in joylessness. Although Ye’s rap verses are filled with fuller, more dynamic sentences, any memorable moments are overshadowed by stale shock value. One dispiriting punchline, littered with a clever wordplay on Manhattan traffic and morning sex, ultimately leaves the listener feeling emotionally wedgied. Remarkably, this occurs in a song titled “Problematic,” further reinforcing the album’s exhausting nature.
The Problematic Nature of Kanye West
Addressing his problematic nature, it appears Kanye West willingly provoked controversy and capitalized on the ensuing backlash through a succession of ugly remarks about Jewish people. This album’s gloomy title track finds him defiantly questioning his role in antisemitism, subsequently answering with an unspeakable line about sex with a Jewish woman. This offensive wordplay has unfortunately become a recurring lyrical trope for West. Furthermore, the album’s closing track, “King,” sees the rapper boasting about being labeled as “crazy, bipolar, antisemite,” reinforcing his own self-perception as a defiant figure.
King of Controversy
One might question whom Kanye West considers himself the king of. In the realm of middle-school edgelords, this might hold some truth. Alternatively, it is possible that Ye’s antics are not rooted in sheer cynicism alone. The most memorable hook in “Vultures 1” serves as both a moment of candidness and a convenient self-exoneration for all involved, with West declaring, “I’m just here to get paid.”
