Yeezus and Jesus: Part 1

July 9, 2013 § 1 Comment

Six months later, I return. Part 2 should be around next week.

You know, the internet doesn’t really need another review of Kanye West’s new album, Yeezus. If you are looking for a review, go check Pitchfork or PopMatters: they’ve got some solid takes. So, this won’t be a review, although my aim here may be as absurd as actually trying to come to a consensus about this bizarre, disturbed, compelling piece of music from Mr. West. Let’s face it, Kanye titled this album Yeezus and it contains a song titled “I Am a God,” so, whether you like it or not, Kanye has made religion an explicit part of this album. While it may be a fool’s errand, I want to draw attention to Kanye’s use of religious ideas (Christian ideas in particular) on Yeezus and illuminate some of the intriguing religious statements made by ‘Ye. Is Yeezus dark and hellish? Yes. Sacrilegious? Perhaps. Devoid of religious worth? Not at all.

Of course, all of this lyrical/religious analysis needs to be grounded in the music of Yeezus, because the music tells us a lot about how to interpret some of the religious references that Kanye makes. Additionally, Yeezus does not stand on its own, bereft of the context of Kanye’s previous albums, but is deeply connected to both 808s & Heartbreak and My Beautiful Dark Twisted Fantasy. To be fair, most of the religious references on Yeezus come on a handful of tracks, but the music (outside of “Bound 2”) is consistently dark and industrial, occasionally punctuated with soulful samples and extended musical outros, which bring a glimpse of beauty and hope amidst the dark soundscape. I would posit that the music on Yeezus reveals Kanye’s (or his persona’s) fractured psyche and his attempts to sort through some of life’s spiritual, mental, and physical issues. First, I’m going to look at some of the interesting musical decisions on Yeezus, and then, in part 2, I’ll turn more fully to the lyrics and focus on “I Am a God” and “Bound 2,” the two most spiritually significant songs on the album.

KANYEJESUS-LACHAPELLE

There are two emotions coursing through Yeezus: anger and regret. Opening track, “On Sight,” is a vitriolic blast of electronic blips, distorted drums, and profanity: “How much do I not give a f—? Let me show you right now before you give it up.” The angular electronica is broken up by a brief children’s chorus, a momentary reprieve to the bleak soundscape. Is this Kanye showing how much he doesn’t give a f— or is it something else? Considering moments like this pop up over the course of the album, I would venture they serve a larger purpose that simply messing with listeners. The explosive intro to “Black Skinhead” marks another anger fueled track, as relentless drums, random guitar squeals, and primal background vocals cavort behind Kanye’s screamed lines. “New Slaves,” while being slightly less manic than “Black Skinhead,” still features ominous synths and a barrage of a bridge, which is followed by another strangely melodic outro, featuring Frank Ocean. Contrasting so strongly with the preceding music, the glorious strings and reverb heavy vocals and drums lead to some questions: where is the real Kanye on Yeezus? Is he in the rage or the calm? Do these peaceful moments serve to prevent the anger from overwhelming the entire album? Do they stand as moments of enlightenment on an album that is mired in the dirty realistic crap of life?

For the most part, Yeezus is not a happy album. If ‘Ye isn’t angry, he’s obsessed with his past experiences, and the music slows down, enveloping him in a haze of reflection/regret. Along with this, when the music takes this reflective turn, it develops a feel similar to Kanye’s work on 808s & Heartbreak, relying on auto-tuned vocals and electronic dithering. The connection to 808s is key, as a number of tracks on that album show us a deeply injured and insecure Kanye searching for meaning in life. On Yeezus, the effect is largely the same, breaking up the braggadocio and vulgarity with some honesty and vulnerability. On “Hold My Liquor,” the moody ambiance, supplied by Justin Vernon’s vocals and Chief Keef’s auto-tuned, echoed hook, feeds into Kanye’s narrative of his latest heartbreak. In fact, the triumphantly depressing second half of “Hold My Liquor” would fit in perfectly on 808s, and songs like this on Yeezus let us see behind the egotistical persona that Kanye has cultivated for himself. In the same fashion, the second half of “Guilt Trip,” with its repeated refrain of “if you loved me so much, then why’d you let me go,” drips with regret before ending with delicate strings over a glitched out drum line. This is the kind of album Yeezus is: hate morphs into regret and bitterness, yet juxtaposed against all of these terrible, draining emotions are moments where it seems like beauty and goodness are still trying to break through into the proceedings. Are these moments Kanye screwing with us or are they the things that he can’t escape from? Are these moments grace finding a way through the morass?

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