Kanye West, one of the most controversial names in music, dropped a new album this month alongside Ty Dolla $ign. Despite West’s problematic and hateful comments in the past, his musical talent is undeniable and is a great example of how separating art from the artist is acceptable, but also comes with nuances.
West has already had some viral hits off the album, as “CARNIVAL” and “DO IT” have been flooding TikTok For You pages. The clips that have been playing on loops online are catchy, but don’t do full justice in demonstrating just how good the songs are. “DO IT” is especially incredible, and the whole song makes you want to dance.
Like most of his other work, West’s experimental and unique sound is prevalent on this album. Instrumentally, the mix of traditional instruments like drums and keyboards with computer-altered vocals that sound like instruments of their own is eclectic and unique in the best way. West also features his oldest daughter, North, by having her sing the opening verse on “TALKING.” Although this album is far from wholesome, it was heartwarming to hear the ten year old singer introducing herself as “your bestie, Miss Miss Westie.”
Another interesting sound element from this album is the chanting crowd that repeats many of the lyrics on songs such as “CARNIVAL” and “BEG FORGIVENESS.” This chanting adds power and energy to the songs, but it is also slightly chilling. It adds auditory imagery of a large, cult-like following into the songs, which West may be using to try and redeem himself.
Although the chanting is a subtle attempt by West to reestablish his fanbase, the lyrics destroy any sort of redemption he might have approached. Coming off of his previous two albums which are focused around Jesus and do not feature any explicit songs, VULTURES 1 is a complete 180. Calling out everyone from Taylor Swift to Kris Jenner, and acknowledging the problematic, anti-semitic comments that he has made in the past year, makes the lyrics in this album slightly unhinged. Making light of these hateful comments is probably not an effective way for West to redeem his public image, and it seems like a missed opportunity to use his art to apologize for his actions.
Although each song has outstanding production and instrumentals, the lyrics are lacking in comparison. Most lyrics are definitely memorable, but they are also so crass and outlandish that it seems more like a cry for attention than part of a carefully crafted song. Not every song contains statements that I’d be ashamed to play in public, as “PAID” and “BURN” are the perfect songs to blast in the car with the windows rolled down.The lyricism is not wildly different from other contemporary rap songs, but the quality of the lyrics is nowhere near as high as all the other elements of the album.
Ty Dolla $ign, who collaborated with West on the album, did an outstanding job. Vocally, he outshined West, but not to the point where it was distracting. His voice complemented the tracks nicely and made up for some of West’s insane lyrics. I wish this was his album alone, as I enjoyed his lyrics and vocals much more.
Despite the controversial lyricism, this album is solid throughout. I feel some guilt for admitting that even though he has said some horrible things, West can still produce really good music. VULTURES 1 proves West’s talents as a producer, but also the fact that he might do less harm if he stopped saying so much. Considering that most things he says publicly and through his music contain harmful rhetoric, it might be better if West put songwriting on the backburner. While West is far from the lyricist of our generation, he will certainly be remembered for the waves he has made with both his music production talent and his problematic actions.