Well folks, it seems Kanye West has delivered on his promise to continue updating his latest album, The Life of Pablo. If you’re a Tidal subscriber, Kanye has made a promise that he would continue releasing music that fell under the banner of Pablo’s already massive track listing. Bringing the total number of songs to a whopping, and even potentially over-bloated twenty tracks. I will say that the life of Pablo is definitely an interesting track, which features a very monotone Kanye getting ever more personal as he delves into his marriage, debt, the media, and quite a bit more through his eyes. Today, we’re going to be taking a glimpse yet again into the life of Pablo with his newest track, Saint Pablo.
To start, we’ll talk a bit about the production. I actually really enjoyed this beat, heavy on the piano, it’s a much darker tone than the majority of The Life Of Pablo. Granted, TLOP was supposed to be a heavily gospel inspired album, much like Chance The Rapper’s recent project. However, what we ended up getting was a mesh of many different sounds that basically collected each and every album that Kanye had ever created up to this point, which brought a cascading waterfall of variety. However, like a waterfall, the individual streams of water ended up being so roaring, and jumbled that sometimes it ended up being an incoherent mass of sounds. Luckily, Saint Pablo seems to avoid this, taking a darker tone that mirrors the song Wolves, and for the most part it pays off.
In speaking of Kanye’s bars and lyrics throughout the song…they’re a mixed bag. I found it very interesting that he’s gotten ever more personal throughout this album. Mr. West has always had quite a history of bringing it home, through songs like Hey Mama, Jesus Walks, Blood On The Leaves, and quite a few more that come to mind when we think of darker tones. Beginning the song talking about how he and Kim would both go broke if he didn’t learn how to say no to those asking for favors was endearing, and showed a side of relate-able melancholy that had long since blown into the wind during Ye’s stardom. However, this ends up wearing pretty thin as we definitely get some struggle bars throughout the song, and yet again we have to harp on him being the most influential of a generation.
There are quite a few times during this song that I found myself disoriented by Ye, as his flow matched the beat terribly. Often times he would either far outpace the beat, speeding up so it felt like his own inner tempo was off, or he would hit it straight on. In the moments where he and the beat lined up perfectly, I could feel myself nodding along, vibing out with the on the nose symbolism, as well as themes from Kanye’s life that he’s chosen to explore during the track. What also caught me by surprise was that as revolutionary as this track attempted to be, it seemed to be yet another instance of Kanye falling in line with the times. I found myself thinking about how many other songs I’ve heard identical to this one, in production as well as lyrically that were done much better, and didn’t feel like they left the studio just to put something out there.
While I salute his passion, and give him credit for making a decent song that is pretty easy to jam out to most times, I do have to say that the overall release is messy, and not up to the level of polish we could once expect from a Kanye West album or single. However, this continues a trend that he’s been following, in which we see rushed releases, and then Kanye goes back later to fix them. Although I did enjoy TLOP, as well as this track…I keep having the sensation that Kanye’s mind is keeping up faster than his production crew. All in all, if you have the time, give the track a listen. It’s a pretty average track by a well above average artist that may get altered again. Maybe the next version will be a better sampling.
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