Music writer for The Guardian, Dorian Lynskey is the first to say out loud what I have been thinking ever since I saw the likes of Pitchfork and Metacritic give Kanye West’s ‘MBDTF’ album perfect scores… It’s all just mass Hype.
‘Reviews for Kanye West’s My Beautiful Dark Twisted Fantasy have been off the scale. But have critics confused size, ambition and bluster for a genuinely brilliant record?’
‘Kanye West’s album is bigger, but not necessarily better.’
Read the full post here
When, thinking with a level-head, and comparing this album to all of those which Pitchfork and Metacritic have given scores to in the past (some undeniably ‘great albums’), you can’t help but think “wtf?!”. The album, with its eclectic characteristics, collaborations and high production values, reminds me of Janelle Monae’s 2010 LP release ‘The ArchAndroid (Suites II and III)’, which received a score of 91 on Metacritic (universal acclaim). Kanye West’s album is very much the same in those three senses, it has an unruly amount of artist features and collaborations, it draws many different characteristics from different genres, and the production includes the use of live instruments and sequenced tracks. I feel that while Janelle released an album, more tasteful and better executed than Kanye’s, Kanye had what Janelle did not… Hype. Critics and fans alike, before its release date, were already all over the album, which had its album cover banned, several songs released early via Kanye’s ‘G.O.O.D Fridays’ and an accompanying 35 minute short-film which featured all the tracks from the LP.
Kanye West is one of the best musicians in recent history at using the media to stay relevant, controversial and famous when he needs to be, creating a massive hype around him. He has now reached a new height though, he has sucked the critics into his hype as well as the fans.