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Top 12 Acts Of 2012 :: URB Readers Poll Winners

URB.com — Tue, 18 Dec 2012 21:22:11 +0000

The votes have been tallied and once again URB readers have made their voices heard. And how did 2012 flesh out in terms of your favorite artists? A rock solid mix of all-time favorites, current buzz-makers and a few veteran acts climbing their way to the top once again. Don’t call it a comeback — although it seems hip-hop dominated your world in 2012, while the rest of America was jocking EDM as the next big thing. Are MCs the new DJs, who are the new pop stars, already?

12. DOOMTREE

This seven-person collective from the Twin Cities has been on our radar for almost a decade, although it seemed like they’d forever be in the shadow of MPLS patriarchy Rhymesayers. Not that there’s anything but healthy competition between the two camps. And now, riding on win after win as a team, plus all-star performances from individual players Lazerbeak and Dessa, Doomtree has cracked our year end list for the first time. Looks like Minnesota is still the hip-hop capital of the Midwest.

HEAR New Wu-Tang Clan :: “Six Directions of Boxing”

URB.com — Wed, 10 Oct 2012 20:13:54 +0000

Wu-Tang Clan mastermind RZA is preparing for his big screen debut as writer/director/actor in the upcoming Quinten Tarantino-produced kung-fu flick The Man with the Iron Fists. And as one would suspect, the soundtrack features an impressive list of hip-hop luminaries, including Kanye West, Pharoahe Monch, Pusha T and Wu-Tang members Ghostface Killah and Method Man.

It also features a new Wu-Tang track, “Six Directions of Boxing,” which was produced by Frank Dukes and features almost the entire Clan—U-God, Ghostface Killah, GZA, Masta Killa, Cappadonna, and Inspectah Deck. Check out the tune here, and after the jump watch an interview with RZA where he talks about the potential for a final Wu-Tang album to mark the group’s 20th anniversary next year.

@Seanmandela @Phillyfreezer @koshadillz @senorkaos @joescudda all rock @hiphopdx @a3c TONIGHT!

ramievenesh — Thu, 06 Oct 2011 13:14:52 +0000

Tonight is the night! The 7th annual a3c festival kicks into play and brings rappers from all over the country and globe in what proves to be the most exciting times of times for the southeast and USA for that matter. Acts from Brooklyn, Queens, Philly ,New Jersey North Carolina and Michigan all converge into the Next of HiphopDX. Kosha Dillz, Joe Scudda, and J Young The Genral all earned their stipes through fan voting to be flown out while classic rock the bells veterans Random Axe and Freeway tear down the stage in classic fashion and Homeboy Sandman shocks the world with his Essence as one of the three headliners this year. Senor Kaos and his Ultra Beast represent in beastly fashion in the opening night.Fans of Wu Tang get to see Dillz and Bronze Nazareth in the same night on Rza beats.

Festivities start at 9pm after Diamond D’s 45 break session with Kosha Dillz taking the stage out at 930 what truely proves to be the “next” showcase to watch.

Wavves x GZA :: “Liquid Swords” Live

URB.com — Mon, 29 Aug 2011 19:30:47 +0000

It must be every suburban 20-something’s dream to get on stage with a memeber of the Wu-Tang Clan. So we’re happy for SoCal indie-punk Wavves who got to play back-up band for GZA performing “Liquid Swords” on Fuel TV’s Daily Habit. The band does a solid job in re-creating RZA‘s haunted loops (adding a little fuzzbox in the middle) while the MC plays fast and loose with the rhythm.

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The band then celebrated by partying it up at MTV’s VMAs. That is, until bassist Stephen Pope was kicked out after getting busted with champagne and weed according to his Twitter.

Rock the Bells 2011 Review

jasonkordich — Wed, 24 Aug 2011 14:50:25 +0000

Days prior to the 8th installment of the Rock the Bells series kicking off in San Bernardino, California, the set times were announced. Upon seeing that Mobb Deep’s performance of Infamous would be at the same time as Nas performing Illmatic, fans vented their frustrations on the Rock the Bells Facebook page. Guerilla Union listened, and they adjusted the lineup.

Right around this time, MF DOOM announced that he would not be able to perform. Guerilla Union again heard the frustrations and had Murs fill in for him. While the days leading up to the festival may have had a few bumps, thankfully, the nearly 12 hour show was virtually absent of any other incidents—although when the show began it did not look as though that would be the case.

Around 1 p.m., fans anxiously gathered to see Black Star perform their highly influential Rawkus classic. After waiting for close to an hour for the duo to hit the stage, fans began to grow impatient from standing in the unbearable heat and began to boo. Shortly after the fans began booing, word quickly spread that Black Star would not be coming to the stage but instead Common would be performing Be.

Rock the Bells, like most festivals, is all about time management and making a commitment to who you are going to see and being OK with who you are missing out on. Those who waited for Black Star to perform their lone albumhad already missed out on seeing Killa Priest and Masta Killa. However, Common’s set, which featured material ranging from Be to his 1994 classic Resurrection, greatly helped to diminish the frustrations. From “I Used To Love H.E.R.” to “Ghetto Dreams,” Common’s set demonstrated his longevity and growth as an artist. Always the consummate performer, Common showed his appreciation for the Left Coast by rhyming over the Deep Cover instrumental and shouting out his love for Cube during the course of his set.

Along with Common, the rest of the line-up were all announced to carry on the tradition of performing full albums that started at last year’s festival. These included Souls of Mischief (’93 Til Infinity), Cypress Hill (Black Sunday), Black Moon (Enter The Stage), Masta Killa (No Said Date), Gza (Liquid Swords), Lauryn Hill (The Miseducation of Lauryn Hill), Nas (Illmatic), Erykah Badu (Baduizm), Raekwon & Ghostface (Only Built For Cuban Linx) Mobb Deep (The Infamous), Black Star(Black Star), and Killah Priest (Heavy Metal). Unfortunately, not performer delivered what was advertised. Black Star provided a truncated set, featuring Common on “Respiration,” which lasted roughly 15 minutes. A performance that would have easily been regarded as the day’s highlight was missed by many who did not anticipate that they would end up performing at all.

While Black Star’s set reflected an issue with missing time, the headliners of the 36 Chambers Stage—Raekwon & Ghostface (along with Cappadonna)—performance of Cuban Linx reflected the issue of missing pieces. There are so many classic verses from other members of the Wu that to truly do this album justice would require nearly all of the members to be present. And strangely, even Wu members who were present (such as Rza) didn’t appear during the performance.

But RTB had other unconventional treats for the serious hip-hop heads who filled the venue. Just prior to the Cuban Linx perforamce, Rza spoke about when they were working on the album. He stated that for a year they just stayed in the basement to work on it. He stressed that people thought that after 36 Chambers and Tical he didn’t have anything left as a producer. Listening to the famed producer discuss the time and dedication that went into the project revealed a universal quality of all of the albums performed that day. Each represented the culmination of overcoming obstacles (whether they are social or artistic). They are landmark albums because of their triumph, and we still eagerly flock to watch them being performed because it suggests that this triumph isn’t a temporary experience, but can be relived over and over again.

Watching Black Moon perform “Who Got Da Props” and hearing Buckshot talk about his love of jazz or seeing The Infamous Mobb Deep perform such street anthems as “Survival of the Fittest,” “Eye for an Eye,” “Shook Ones Part II” reveals this timeless feeling that is experienced each and every time they perform this material. While these songs immediately took listeners back to a purer time for the genre, artists such as Childish Gambino, equipped with Busta Rhymes like energy and incredible punch-lines, or Fashawn, who is one of the best word-for-word lyricists in the game right now, are looking to leave their own imprints on an over saturated genre that often forgets artists before they ever really get to know them.

On a day filled with so many great moments, the two that completely transported the audience to another time and place were Erykah Badu and Nas. Badu was by far the most captivating artist to perform at the festival. It was impossible not to get lost in every note this queen of soul and seduction sang. Wearing a top hat and outfit that resembled vintage circus conductor garb, there was not a second that Badu was not in control of her music. This was made clear during “\”The Healer\”as fans fell into a calm trance, which served as a nice change of pace from the rest of the music being performed that day.

While fans were lost in Badu’s presence, the stage production for Nas’ set transported the audience to the Houses of Queensbridge. Along with AZ, DJ Premier and Pete Rock, the performance of Illmatic was worth the price of admission alone. 17 years since arguably the greatest hip-hop album of all time came out, it is incredible to see how truly ahead of his time Nas’ rhymes and style were. The only detours from the album were AZ and Nas performing “Phone Tap” and Pete Rock and Preemo having a “battle” by going back and forth and dropping some of the classic material that they produced throughout their illustrious careers for artists such as Gangstarr, Run-DMC, and CL Smooth. Everyone was able to reminisce before getting back to the regularly scheduled illmatic program. At one point during the performance, Preemo yelled to Nas, “This is fucking with my memory,” which might be a statement echoed by everyone leaving the festival.

After he finished the album, Nas performed “One Mic,” “Hate Me Now” and “Made You Look,” which brought Ron Artist, Mobb Deep, and Erykah Badu to the stage. It was a celebration that had everyone up and prompted Nas to give a heartfelt shout out to his cohorts: “We made it.” With the Queensbridge backdrop and videos from the juice crew era playing in the back, this will be one of those “where you there when” moments that will be talked about for years to come.

With a set as explosive as Nas’, many people decided that he would be their headliner, even if there were artists still performing. Those who stayed to see Lauryn Hill witnessed an artist who often seemed at odds with the very band that she was performing with. Not nearly as relaxed as Badu, Hill seemed tight during her set and her now infamous decision to rework her music so that it is in double time continues to be puzzling. While it would be nice to see her just let go and really enjoy herself, there were moments throughout her set that reminded listeners of how truly talented she is. As her set came to a close, she made her way into tracks off the Fugees The Score, and Nas rejoined her on stage for “If I Ruled The World(Imagine That)” As the song finished, Nas bowed to Hill, calling her the queen.

Shortly after the festival came to an end, fans had already flooded Facebook with their wish list for who should headline and perform at next year’s Rock the Bells. From Outkast performing ATliens to the Beastie Boys headlining, fans are already making their voices heard, and thankfully for all of us, Guerrilla Union will be listening and will put on another festival that will continue to raise the bar higher.

See Our Complete Rock The Bells Photo Gallery Here

Kanye West and Jay-Z – Watch The Throne

James Shahan — Wed, 10 Aug 2011 18:34:42 +0000

These days, expectations for albums such as Watch The Throne are hard to conjure. It is far too easy to know what is wanted but it is also easy to know that the chances of a Jay-Z who sounds like he’s in the midst of recording The Blueprint along with a Kanye from theCollege Dropout era are next to nothing. Why is this such a struggle? Why is it so easy to cling onto certain bodies of work and wish for each subsequent effort to bear resemblance? Well, the easy answer is because both of these men are very good at telling specific types of stories. Jay has always been known to seamlessly weave street tales (from his life) along with delivering a myriad of different styles doing so. On the other hand, Kanye’s true power has always lied in his ability to bear his soul through his music. He is one of those rare artists with whom millions of people can relate.

The quandary here is that neither effort most recently released from either artist truly harnessed their strengths. The Blueprint III was an obvious deviation from earlier work (seemingly to appeal to a new, younger audience) whilst the critically acclaimed My Beautiful Dark Twisted Fantasy really had West talking more about his accomplishments and possessions than what really makes him tick. With Watch The Throne, there are points which are incredibly high as well as points which are far less impressive- really depending on each individual song.

No Church in The Wild (feat. Frank Ocean)
“No Church in The Wild” seems like the sort of song where the duo would discuss lack of belief/s or even anarchy with Frank Ocean singing, “What’s a god to a non-believer/ Who don’t believe in anything?“ It is very possible that this is indeed the theme, hearing Jay-Z go from talking about how white his drug-funded Rolls Royce Corniche is to asking, “Is Pious pious cause God loves pious?” Perhaps Kanye is supporting the “no-rules-to-this-lifestyle” message of the song as he mentions coke and threesomes. While enjoyable, this track indicates one of the concerns with the album: there are certain songs where the intent of the artists or even the intent of the content is just unclear. Can true lawlessness be illustrated amidst mentions of such a “good” life?

Lift Off (feat. Beyonce)
Complete with a triumphant chorus sung by Mrs. Shaun Carter, “Lift Off” is fully poised to be an uplifting anthem of how far people can go and how great they can become. Unfortunately, neither ‘Ye or Jay really hit the target. Jay-Z references the album title in the line/s, “Rappers hear watch the throne/ They gon’ be pissed off” which might be fine, if it were not for the fact that this happens multiple times throughout the album. This right here seems to plague much of contemporary hip-hop. Rappers are way too content with telling people that they are the best, how dope they are or how someone should feel about their work instead of just showing people through the music itself. Most bothersome about the track is that many of Kanye’s lines sort of fade away towards the end into words that sound familiar but are ultimately difficult to understand. His verse sounds a lot like a scratch or warm-up take instead of a “real” one. Not sure why this is the case but the static-y percussive hits along with the almost merry-go-round beat of the song carries Beyonce wonderfully; melting into a great piano/drum outro.

Ni**as in Paris
Welcome the first of many songs where wealth, “ballin’,” and material possessions really become the focus. Of course, the Louis Vuitton Don has quite a history of enjoying the finer things [brands] in life, but surprisingly, Jay seems to always do this more than his partner in rhyme on Watch The Throne. Not to say that either of these men have to justify why they enjoy what they do or why they should talk about it but it does get overwhelming. Amidst knocking kick drums and teasing synths, Jay basically states that he “should have” ended up in jail with the rest of his hustle-era kin (or perhaps just because he was a black youth) and goes on further to say that if you were him, you would be in Paris getting just as fucked up. Even still, his verse just seems like one big laundry list of what he owns, drinks, wears, etc. Kanye’s humor is on point though and is sure to induce a few chuckles- utilizing his signature quality of punchline here. The title of the album is referenced again on the way out. Somehow, it fits better than the last attempt to do so.

Otis (feat. Otis Redding)
The flip/loop Kanye put together on “Otis” is nicer than granny on the birthday of her only grandchild. Listening to it, it is actually sort of amazing that nobody executed it sooner. Keeping it simple and sparse, the track has potential for both emcees to really take the time to display their lyrical best. Does this happen? Not really. While the verses are not bad, they are not the most impressive on the album. Perhaps it is a matter of taste, but there simply is nothing comforting about hearing Jay-Z begin the song with the line, “I invented swag.” There are two reasons for this. First, the very term “swag” has been so overused year after year that it should be banned but the second reason is more important. So much of the album (this song included) and Jay’s lyrical contribution to the project (most noticeably anyway) basically is of a similar vein of what every other rapper talks about. Sure, it is usually done better here but at the same time, there is no reason why two artists of such caliber should attempt to do the same things as those whose music is purely disposable.

Gotta Have It
“Gotta Have It” is one of the best songs on Watch The Throne. It does not do this in terms of what the song’s content is actually about (because it is not about much, really) but it does this by having one of the best production jobs on the album along with the chemistry Jay and ‘Ye display on the track. With choppy vocal samples from both James Brown and what sounds like it could be from India, both guys bounce off of each other effortlessly. It also finds Jay-Z in rare form. For whatever reason, it seems like anything that Hova put out after The Black Album showed him sounding strangely uncomfortable on the beats he landed on. It is a big shame that it happens on Watch The Throne as well. Why it happens is hard to say. It might be because on his newer material, he strives to be “in the pocket” with his flow one hundred percent on fast-paced tracks. Regardless, “Gotta Have It” probably has him displaying his strongest performance on the disc.

New Day
With co-production from Wu Tang Clan’s mighty RZA and a Nina Simone sample, “New Day” is by far one of the highest points that the joint album has to offer. With solemn, poignant piano accompanying subdued yet strong drums and a modified Simone, both men really share a lot of themselves here. Both verses serve as almost-letters to unborn sons, hoping to prevent them from repeating the mistakes of their fathers. West spills such phrases as, “And I’ll never let my son have an ego/He’ll be nice to everyone, wherever he go/I mean, I might even make’em be Republican/So everybody know he love white people.” Shaun goes on to say his only job as a father is to make sure his son knows his proper path in half the time it took himself to figure out. The song is not only a much needed addition, but really shows the true potential of each artist.

That’s My Bitch
Seen/heard on the internets quite some time ago, “That’s My Bitch” is here, unaltered. Featuring the vocal stylings of La Roux’s Ely Jackson, the old school flow kicking it off as well as vintage drum loop make for a surprisingly feel-good track. However, “watch the throne” is again used (simply feeding the notion that they are guilty of the “tell, don’t show” disease along with most other artists). While a nice track overall, there are a few sub par/confusing lines, such as Jay’s, “Go harder than a ni**a for a ni**a, go figure.“

Welcome to the Jungle
Another very strong offering from the duo, “Welcome to the Jungle” sports a quasi-rock Swizz Beats score with some of the best lyrics they have to give. Interesting enough, the trials and tribulations discussed here have two different sources. As the song begins and evolves, it is clear to see that while West suffers from the things that have happened outside of himself (his environment), Z struggles with himself most of all. It offers rare moments for not only him, but his listeners. The inclusion of the same short outro heard earlier on the album is rather unsettling though; creepy almost (whether intentional or not).

Who Gon Stop Me
“Who Gon Stop Me” is interesting not only because the beat is very dubstep, but it references everything from the holocaust to Oprah. Something to note is that with lines like, “This is something like the Holocaust/Millions of our people lost,” they turn around and mention their black cars, broads, straps, etc. Whether or not seen as hypocritical, Kanye ultimately outshines Jay on the song. Again, hova sounds like he is stretching perhaps a bit too much to just sound comfortable.

Murder to Excellence
Another very high point on Watch The Throne, “Murder to Excellence” is both very good and surprisingly puzzling. Moving from black on black crime/murder to covering [black] excellence, it would seem that the theme is very well laid out and understood. And for the most part it is. But again, ‘Ye simply delivers his thoughts more concisely than Jay. Even though he has the first verse for both sections of the song, it seems like Shaun makes some very interesting albeit nonsensical transitions. During the “murder” portion, he begins by addressing the police killing [murder] of Danroy Henry. While a great moment for both Henry’s memory and family, Jay-Z later mentions black power as, “All black everything/Ni**a you know my fresh code.” Not a horrible line but also not a great follow-up; breaking the concentration of the topic at hand. This is followed up by ANOTHER reference to the album title. Once or twice would be understandable (seeing as how this is a very momentous event for hip-hop and music) but ad nauseum, it really starts to detract from what they are trying to convey. Kanye focuses on violence in his hometown of Chicago through very powerful means- stressing that the black community needs to redefine black power and comparing the death toll in Iraq with that of the city he’s from.

Perhaps the most strange and possibly alarming choice made on the track is when the “excellence” portion is begun and almost all of Jay’s verse emphasizes his clothes, credit card, cologne and even necklace. Sure, these are all signs of “success,” but what about the common man? What about the common black man? Is he trying to insinuate that the “excellence” of one or one’s life is determined solely through possessions and decadence? Probably not but still, it is a bit disheartening to have so much space to say something important and not take the opportunity.

Made in America (feat. Frank Ocean)
There is truly something magical when those we look up to as epitomes of success or talent talk about how humble their origins are/were. This is why “Made in America” is so great. Implementing lazy snares, sweeping synths and 8-bit-like hits, West reveals how his mother is to thank for introducing him to No ID. Mr. Carter reminisces on the days where he had to cook crack in his grandma’s house (telling her the smell she noticed was nothing more than boiling water). Frank Ocean’s crooning on the chorus really rounds out this song nicely as well.

Why I Love You (feat. Mr. Hudson)
“Why I Love You” is quite a clever track. Seemingly telling the game (and the people in it) that they love it but don’t know why, Kanye assists Jay as he talks about his contributions and what he tried to do for his brothers. While he does not nail the fast flow as much as desired, what is being said does have its moments of brilliance. The end is rather abrupt, but then again, any ending for such a meeting of the minds would seem jarring and unwelcome.

Chances are, Watch The Throne will suffer from the “detox” syndrome and never live up to people’s expectations of it. While a decent album, it can be frustrating at times because when it is great, it dwarfs the moments that aren’t. Some of it is good. Some of it is great, even. The struggle while listening though is knowing that the entire thing could have been great, but it is not. It does have its dull moments. Additionally, Watch The Throne arguably cements a very frightening notion. Not only do Jay and ‘Ye shy away from their signature strengths at times, but it may be that they simply do not want to revisit or rest upon them or their past stylings. This would be discouraging in itself, but increasingly more and more, it seems that they might be hell bent (or have been hell bent, maybe) on establishing a new sub-genre of music: opulence-hop. Yes, almost every rapper talks about their possessions, but to do so not only with such frequency and detail but passion may mean that the gap between them and the common man/fan is something that will only grow and never close. Watch The Throne is definitely worth the listen, but if appealing exclusively to the wealthy and affluent is their mission, the repercussions could be quite dangerous.

New tunes: @yakballz @koshadillz @rza @therealkoolgrap @verbsisthehomie @Mike_Eagle

ramievenesh — Mon, 11 Jul 2011 19:48:57 +0000

The word?

This song is banging. Talk about horrorscopes? zodiac thrillers and killers, and some remixing of old lyrics, killing time and sort of a twist into the abyss of a spiral downward beat, I can only imagaine the craziest video to a crazy beat.

download Zodiac killer here

@Rza and @koshadillz w/ @therealkoolGRap – “Operator”

The most unexpected collaboration in the entire world has happened. The chances of this collabo happening (to be expected) was like austrailia and canadian military forces planning to take over the world with nuclear weapons….and well.. it did. Koll G Rap does him while Rza layces the beat hook and Kosha Dillz goes in for the last supper or Passover seder.

Operator by RZAWU

LA x Knocksteady

Check out Verbs, one of LA’s most exciting newcomers and next to blow from the Project Blowed camp. He’s been on tour with everyone from Murs to his current run with Open Mike Eagle. Follow him on twitter.

Open Mike Eagle is one of the most talented MC’s I have come across in a long time, so watching this live Knocksteady performance took that idea to a new level. OM eagle = OMFG = holy shit this is dope. Reminds me of like some soul food mixed with Outkast in a LA Mc’s voice.

RZA To Star In ‘G.I. Joe’ Sequal

URB.com — Tue, 28 Jun 2011 20:54:14 +0000

The RZA is no stranger to the big screen. He’s stolen scenes from A-list actors such as Bill Murray and Seth Rogan. But the kung-fu inspired producer might have found the perfect role as a martial arts instructor in the sequal to last summer’s surprisingly awesome G.I. Joe movie.

According to the Hollywood Reporter, the Wu-Tang leader is in talks with producer to play the Blind Master, the mysterious guru who trained ninjas Snake Eyes and Jinx. The film is scheduled to be released summer of 2012.

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7 Degrees Of Horrorcore

Dan Vidal — Fri, 18 Mar 2011 13:28:10 +0000

Seems like the name Odd Future has been on the tongue of every rap vet and industry tastemaker for the past 6 months or so. Let’s think about that word for a second — tastemaker — before reflecting on the sheer tastelessness of the subject matter that these young teens from the west coast have chosen to be their microphone M.O.

Although we can’t lie, who doesn’t enjoy some good tales of rape, pillaging, suicide, and grisly murder every now and then? Charismatic and clever as Odd Future may be — specifically the group’s frontman, Tyler the Creator — any real hip-hop head knows damn well that neither he nor his cohorts are the first to stake their claim in the shadowy terrain of the horrorcore sub-genre. Perhaps the only thing truly bothersome about Odd Future’s meteoric and seemingly overnight rise to prominence is the fact that these same tastemakers that have been showering them with praise have done so in a manner that seems to overlook the many MCs who’ve tread these dark waters years before Tyler ever created anything — or in some cases, probably before he was even born. That said, welcome to a brief audio history of some of the darkest corners of the rap universe.

Kanye West – My Beautiful Dark Twisted Fantasy

Dan Vidal — Tue, 23 Nov 2010 15:16:13 +0000

My relationship with this man and his music has been one of love and hate. It seems that within the past couple years, my sentiments have slid further and further in the direction of the latter. It’s ironic that Kanye’s very (rare) artistic trait of unabashed self-expression is the very same trait that caused me to begin to lose interest in his work, not to mention respect for him as a person.

He was always known for having a hothead and a big mouth. Fine. During the early years of his media criticism, it amazed me that people seemed to forget that harboring a certain degree of egotism was part of what it meant to be an MC. It seemed like they were picking on Kanye West simply for being outspoken and unapologetic — something that the corporate media hates — and so I brushed it off as some sort of mainstream cultural-disconnect. Then there was the George Bush Katrina telethon statement: a little tactless and poorly-timed, but honest (and some might say truthful) nonetheless. For that one he got just as much of my respect as he did my disgust.

The Taylor Swift incident just confused me. I don’t think it’s any secret that those goddamn award shows are blatantly biased, but to disrupt another person’s moment of glory to state an opinion as if it was fact goes beyond everyday MC egotism. Now it seemed like Yeezy was just picking battles for the sport — to satisfy some sort of insatiable hunger to upset the very establishment that had initially embraced him on it’s own terms and not his.

Besides… c’mon, dude. It was a Beyonce video, not a Cezanne painting.

Speaking of timeless artists though, it was around this time that Ye began seeming less and less shy about announcing to the world that he was one. Referring to himself as a genius, and complaining about people not fully understanding his music — annoying shit that makes you want to ignore a man’s work and not even attempt to appreciate it. Then 808s and Heartbreak dropped. It alienated countless longtime fans, and even in it’s mixed critical reviews it signaled the possibility of career suicide. Initially it seemed like the last straw, but somehow we all knew that one day Kanye the MC would return.

Just to be clear, if you’re confused as to why I’ve brought up these over-publicized events and began analyzing his character within an album review, allow me to point to damn near every promotional interview that he’s done as of late in which he does the same. If he chooses to frame his latest work by continuing to address his past public outbursts, then it’s only fitting that I do so as well. After all, this is part of the Kanye West mystique. Even as he’s claimed to have curbed his arrogance and taken on a new air of artistic and personal refinement, his actions and his latest work reveal that these so-called character improvements are more like accessories added to his wardrobe — like that big flashy chain he wears in the “Power” video. Underneath it all, he’s essentially the same old Kanye. And while he let that persona of his run wild for a moment (culminating in an overly-experimental album that I personally disliked), it seems that the old Kanye is back. He’s brought the bars, and some shiny new toys and trappings to take them to the next level.

After Nicki Minaj’s psuedo-cockney-accented opening narration, Yeezy pulls one of his favorite tricks. He takes you to church — with an arrangement of spine-tingling, ever-rising vocals that ask a simple question, “can we get much higher?” And there lies the challenge that he sets for himself on his return from the far away planet that was 808s and Heartbreak. I suppose we should be thankful that Ye doesn’t actually return back to Earth on this one. The space he explores here seems to be one that exists somewhere between his previous releases and his most recent one. It’s a sound that for one reason or another — be it the perpetual religious imagery, the choir-backed choruses, or Kid Cudi’s soulful chanting — I can only describe using a term that Busta Rhymes coined about 10 years ago: a sort of cathedral-ish bounce.

The fact that those all too familiar poignant yet wittily-crafted bars of fire have returned to the forefront of his work is really the only thing that tethers it to something we’ve heard from him, or anyone else, before. But then again, it’s even hard to say that they’re really at the forefront any more. On “Gorgeous,” he treats his distorted vocals as if they were another instrument to be blended seamlessly into the mix alongside the muted electric guitar-riff. He spits:

“Penitentiary chances, the devil dances / and eventually answers to the call of autumn / all them fallin’, for the love of ballin’ / get caught with 30 rocks, the cop look like Alec Baldwin”

This track is an excellent microcosm of the album because it exemplifies the pinnacle of Ye’s visionary talent. In my personal opinion, I don’t really think Kid Cudi can sing; and I’m not sure why his generally off-key caterwauling is appealing to people, but here it’s hypnotically on point – matching perfectly with the track’s imposing tone. Ever since Late Registration, it’s become apparent that Kanye (much like Miles Davis) has the ability to bring out the strengths of his collaborators — squeezing out the essence of their artistic persona as highlights for the music that he creates.

If Yeezy was a director, he’d be Tarantino. And I guess the ensemble cast and jaw-dropping level of production that he’s carefully arranged them over makes this his Pulp Fiction.

He’s said himself that he chooses guest vocalists for their voices, not for their names. Although this becomes hard to believe when you see a track as packed full of star-power as “All Of The Lights.” The extensive list of big names immediately brings to mind the cheesiness of a “We Are The World” type-record. On the contrary, it’s actually somewhat difficult to pick out the voices once you hear the song — but then again, the first time you hear it, you’re so blinded by it’s awesomeness that I doubt you’d even want to expend the energy playing that silly little game. Rhianna commands the track over Tony Williams’ marching band-esque drum work. I challenge you to separate The Dream, Ryan Leslie, Charlie Wilson (and anyone else I’m missing) taking turns in flawless harmony right up until Fergie’s sassy break-down and Alicia Keys’ downplayed yet beautiful closing ad-libs backed by Elton John on piano.

Even the MCs that Ye features seem to be milked of their most impressive performances. Jay-Z’s typically laid-back delivery is invigorated with a fiery growl on “Monster” — a track that also features Nicki Minaj going even more bonkers with her flow than we’re accustomed to. Rick Ross steps his tired old coke-rhymes up to intense lyrical portraits on the final version of “Devil In A New Dress,” while Raekwon finishes out a year of extensive guest appearances with one of his stronger showings from it on “Gorgeous.”

As I’ve hinted at earlier, the production on this record at times seems bigger than life, and I suppose this is what happens when a perfectionist super-producer recruits legendary peers to help him create a conceptual masterpiece. Mike Dean of Scarface/Rap-A-Lot fame, No I.D. and even the RZA all added their creative input to varying degrees on the project. When the sounds aren’t overwhelming in scope and breadth, they’re intentionally minimalist. For example, the melancholy piano on the Aphex Twin-sampled “Blame Game” creates an excellent space for Ye to meditate over the causes of a failed relationship.

But sonically, the joy comes from the triumphant, painstaking arrangement that undoubtedly went into the production of tracks like “Power,” the aforementioned “All Of The Lights,” and the album closing “Lost In The World.” There is a sharp distinction between a producer and a beat-maker, and while Kanye started out his career as a Madlib with an MPC (no disrespect to Madlib), he’s grown into a Quincy Jones. Even in the darkest days of his experimentalism and the disturbing silence of his absence from the music scene, somehow I always had the feeling that he’d return better and bigger than ever. I spent this entire past weekend listening to this album on repeat, and the same question inevitably pops up over and over again: “can we get much higher?”

Only Yeezy himself can answer that one. I can’t possibly imagine what he’ll come up with to try.