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Loading comments It sounds like a dancehall remix of Pachelbel's Canon, and it's the most joyful two minutes of music on the album. You can hear why Chance, specifically, might've wanted it back: It is a throwback to the Rainbow Road maximalism of " We Major ," and it is so warmly redemptive it even makes Chris Brown, who sings the hook, sound momentarily benevolent.
Barrett into a gurgling trash compactor alongside some pigeon-cooed backing vocals and an entire undigested verse from another Future knockoff, Brooklyn upstart Desiigner. It's the least-finished-sounding piece of music to ever feature on a Kanye album. This is the logical endpoint to the sort of obsessive perfectionism that led West to make 75 near-identical mix downs of "Stronger," and in the song's lyrics, Kanye admits that the same workaholism that made his father a distant figure in his childhood now keeps him from his family.
On "FML," he name-checks the antidepressant Lexapro on record for the second time in a year, and alludes to something that sounds an awful lot like a manic episode. The life of a creative visionary has dark undercurrents "name me one genius who ain't crazy," Kanye demands on "Feedback" and it's possible that The Life of Pablo title serves as much private warning as boastful declaration. The album's most humane moments come when he reaches for his family: "I just want to wake up with you in my eyes," he pleads at the end of "Father Stretch My Hands.
Tuning into the humanity in Kanye's music amid bursts of boorish static can be difficult, and the most prominent example of assholery on Pablo comes from the instantly infamous jab "I feel like me and Taylor might still have sex," which feels like a piece of bathroom graffiti made to purposefully reignite the most racially-charged rivalry in 21st-century pop.
At moments like this, you sense the airlessness of super-celebrity closing in around him. Even when he was being loathsome, Kanye's behavior always felt rooted in something messy and relatable. During the wild scrum of The Life of Pablo 's press cycle—when he tweeted "I own your child!!
Once upon a time, he was The Asshole Incarnate, the self-described "douchebag" that we couldn't look away from. But there are moments here where he just sounds like another asshole. And yet, as it always does in Kanye's essentially crowd-pleasing, deeply Christian music, the light wins out over the darkness. A madcap sense of humor animates all his best work, and The Life of Pablo has a freewheeling energy that is infectious and unique to his discography.
Somehow, it comes off as both his most labored-over and unfinished album, full of asterisks and corrections and footnotes. And with The Life of Pablo , this humor isn't just in the verses, it's in the rollout, too. Somewhere between the record's several title changes, it started to feel like Kanye had decided to turn his troubled-blockbuster-syndrome into performance art.
The lyrics "She be Puerto Rican day parade waving" was updated to "She in school to be a real estate agent. The production has been completely revamped and the song is runs a few seconds shorter than its original length.
A different instrumental pops up at the second mark and there are noticeably more synths added. The vocals are louder plus background vocals are added on the second round of The Weeknd's hook.
The only change here is the title, which is now "Siiiiiiiiiilver Surffffeeeeer Intermission. Kanye crafts the track so it sounds like the original version that was first dropped on SoundCloud.
The outro is a bit out-of-sync with the vocals and the beat doesn't line up with it. A lot of the production is minimized, turning the track into a proper outro and ending the album with "I can feel it. The song was premiered by Yeezy in L. Emmanuel C.
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