Tom Talks #16: Kanye West-Donda (A Return to Form with a Sprinkling of the Past)

 

Hello folks and welcome back to the Tom Talks blog and today we are dissecting the highly anticipated new release from Kanye West! Delayed several times, the 10th studio album from the Chicago rapper finally dropped at the end of August and boy was I excited.

He blew up on the scene, first as a producer for the like's of Jay-Z, before dropping the highly acclaimed 'The College Dropout' in 2004. This would change the game with it's sampling and more personal, emotional lyricism and began the move away from Gangsta Rap, which continued with the Orchestral 'Late Registration' and Electro-Indie Rock influenced 'Graduation.'

Following tragic events including the death of his mother, (whom this album is named after) Kanye went in an even more personal direction on '808s & Heartbreak,' using autotune to enhance his singing voice. Now this is my least favourite album from Mr. West, but I cannot deny the influence it had on Hip-Hop going forward, paving the way for artist's like Drake. But in 2010, there was a return to form on his magnum opus, 'My Beautiful Dark Twisted Fantasy,' an album I hold in very high regard and many see as his best album.

Following his highly publicised collab album with mentor Jay-Z, ('Watch The Throne') he gave us the experimental and bonkers 'Yeezus' that was inspired by the industrial Hip-Hop of Death Grips and other's in that scene, which shook up the game and while I've only just come round to liking this project, it is a phenomenal body of work. Religion had always been part of Kanye's music, but his first Gospel release came with 2016's 'The Life Of Pablo,' a LP that was kinda all over the place, but had too much good music to hate, despite the many edit's to get to the product we have today.

However, their has been a slight dip in quality with the last two studio album's as 'ye' felt a bit of a mess and not as refined, while 'Jesus Is King' was not Kanye at his best, despite being a solid Gospel release. Although in between those two, we got the amazing insight into mental health that was 'Kids See Ghosts' with Kid Cudi.

'Donda' for me takes the Gospel and Jesus influence's from his last album, but refines them in a way that means the music isn't sacrificed in terms of quality, while at a hefty 27 track's (including 4 Part 2's) it is not only Kanye's longest album, but also as all over the place as 'The Life Of Pablo,' especially considering most songs have three or more producer's on them. We begin proceedings with 'Donda Chant' that see's Syleena Johnson of 'All Falls Down' fame, repeating the album title in various ways which is sorta hypnotic, yet is a bizarre way to start an album that only Kanye West would do.

The album really begins with 'Jail' that reminds me of the sound of 'KSG' and 'Yeezus' coming together for this anthemic rap-rock vibe. Kanye talk's about the flaws of humanity and how God will forgive them, even going as far to say "God gon' post my bail tonight." Jay-Z then come's in with a solid verse talking about his reunion with Kanye, comparing them to Moses and Jesus and hinting at a sequel to 'Watch The Throne.' This is truly an ego flex by these two, but it's such a phenomenal start to the project and ends big with the pounding drum's and what sounds like someone hitting a metal jail bar.

'God Breathed' does grab your attention with it's creepy ad-libs mixed in with the presence of the orchestra and Vory does give a good verse about being tempted by the devil and being used for the gain of others, but Kanye's verse is a bit all over the place, especially with line's like "Dustin, he a Hoffman." The instrumental also goes on way too long at the end and leave's me feeling mixed. We then get one of the project's biggest banger's with 'Off The Grid' giving us that UK Drill sound, as Kanye and Playboi Carti big themselves up and the lifestyle's they live. But the standout has to be the incredible verse from Fivio Foreign who detail's the hard work he put in to get the career he has achieved and how God produced him rather than his environment. But Kanye does almost steal the show at the end with the line "I talk to God every day, that's my bestie. They playin' soccer in my backyard, I think I see Messi." Truly a humourous and odd line, but it doesn't detract from how good this song is.

The Weeknd is the star on 'Hurricane' with the euphoric chorus really flowing with the kick drum's and church keyboard. Lil Baby once again give's a great feature and Kanye detail's how life has hit him hard due to his marriage break-up and leading him to sin. The mm-mm-mm-mm-mm-mm ad-libs are a bit distracting, but overall a great track and one that will be played for year's to come. I do also enjoy 'Praise God,' as the heavy trap instrumental fit's with the almost shrieking orchestra. Together with Travis Scott, both sound like their rising from the grave which fits in with the instrumental and the soaring orchestral vocals. Baby Keem adds that final touch as he claim's to be an angel like figure in the industry, while also giving odd line's about Tame Impala. It was also at this point I noticed all involved including Kanye himself had been censored which is very odd, but he's a good Christian boy now I guess.

'Jonah' see's everyone discuss fighting issues in their life, whether that be Vory fighting his demon's alone or Kanye dealing with beef in the industry. Lil Durk gives that most passionate of these contributions, discussing losing his brother and emphasisng the grief and pain with clever bar's like, "And I don't give a **** if I hang with a Crip, I see blood still." I also noted the production sounding like something off '808s', which was proven by the sample of 'Say You Will' off that LP. 'Ok Ok' see's the highly publicised feud with Drake came to light on the album, with Mr. West describing him as a joke and sounding like himself, referencing texts he sent to Aubrey Graham. Lil Yachty and Rooga also keep to the theme as they discuss those who've dissed them and while it's not one of my highlight's, it is a solid effort.

'Junya' pay's tribute to the late fashion designer, with the mixture of a church keyboard and booming trap beat sounding like a 'Jesus Is King' leftover. In particular I noted Kanye talking about how his mother made him a warrior, leading to him having the impact he has had on the Rap game. The Lauryn Hill sample on 'Believe What I Say' alongside the more authentic instrumental sound, feel's like a throwback to the 'College Dropout' days. Kanye warns of the dangers of living a lifestyle such as his, while the Buju Banton interlude fits well as both he and West discuss rejecting greed and it's a good message to give the listener. We then get another tribute, this time to the late Kobe Bryant on '24' with the sound of the track making it feel like something that would be played at a Wake. Kanye sounds emotional and even angelic, showing how far his vocal's have come since the early day's.

I liked the atmospheric production on 'Remote Control,' especially the whistling in the instrumental interlude, as this fitted in well with Kanye comparing God to a CEO, who has remote control over the world. While I enjoyed this very dystopian, futuristic outlook on religion, the Young Thug verse was out of place and that Globglogabgolab sample is just bizarre. 'Moon' however is an absolute standout, with the amazing Don Toliver chorus and Kid Cudi absolutely killing it and his discussion of overcoming his mental health demon's, was a really passionate and heavy verse. Truly a high point that feel's like it could have easily been included on 'Kids See Ghosts.'

'Heaven and Hell' has many different influence's with the Techno and House inspiration, that really grab's you in the same way 'Power' did. He reflects on rejecting fame and false idols, while also claiming the Lord is his bulletproof vest and that he save's people through his music. It's a pretty bold statement from West, but it's a phenomenal moment. The title track is a personal moment with 'Donda' talking about the support she received and how she made her son who he is today. The choir and Tony Williams' contributions add the final touch to a moment that shows his reflection's on who his mother was to him.

We then get a mixture of Boom-Bap and the Gospel sound on 'Keep My Spirit Alive' that perfectly fits the guest artist's Westside Gunn and Conway The Machine. Westside gives an effortless verse on street life, while Conway gives the listener an emotional verse on being shot and how he believe God saved him, due to the prayer's of his mother. But the verse from the main man is just all over the place and line's like "Not Wakanda but Wakanda is kinda like what we 'bout to make And who gon' make it? Kan' duh," leave me a bit disappointed, at what could have been an absolute banger.

My standout moment on the project is 'Jesus Lord,' a deep look into how the loss of his mother has deeply affected him. You can see this emotion, when he discusses how his mother was the life of the party or asking Christ to bring her back to life or can he die and see her in the afterlife. This along with the atmospheric production created by the 808's and the organ, alongside a fantastic Jay Electronica verse, who criticises previous US and UK government's for their worldwide interference, add to the power and ferocity of the track. Ending with Larry Hoover Jr. speaking on how West tried to help his father get out of prison, this track is a special moment and one that will become one of the great's in his catalogue.

'New Again' looks at Kanye having an out of body experience, stating how he wants to be made new again for the sin's he has committed, over this House and Bass influenced instrumental. I do find it odd how little Chris Brown is used in the track (who's since been removed in an update) and saying God will forgive you even if you continue to sin, is odd advice and not exactly a good message. 'Tell The Vision' feels a bit pointless as it's a distorted version of a Pop Smoke track, that doesn't last long at all and is largely censored and by far the least needed moment on the LP.

He is again pouring his heart out on 'Lord I Need You,' where he pay's tribute to Kim and reference's the good times they had together and how she came to help him at the listening parties, despite not being together anymore. Alongside the Sunday Service Choir, he sound's heavenly and although there is a few percuilar lines like "It's the best collab since Taco Bell and KFC, uh," it's a great track and tug's at the heartstrings. Roddy Ricch and Kanye document their come up's on 'Pure Souls,' with Roddy vocally on point and both stating how they went from little to a lot, while Shenseea on the outro sound's like an early Justin Bieber.

'Come to Life' is another passionate place on the album with the piano and organ adding to this vibe, as Kanye contemplates his life and even possibly dying alone. In particular the upset at Kim not being there, but also not being happy when she is, shows the complexity of their relationship and makes you wonder whether she is right for him or not. Again you can see how far he has come vocally on this song and this continues on to the final track 'No Child Left Behind.' It keep's with the Gospel theme and how Kanye has been saved by God, while Vory give's another solid verse to end proceedings on a high. The album for me concludes here, but their is also some Part 2's after this, including the infamous 'Jail Pt. 2' that feature's DaBaby who has recently been under fire for homophobic comments made and Marilyn Manson who has been accused by many woman of sexual assault, which for me is completely wrong and majorly disappointing to see him include someone like that on the LP.

This album is a bit all over the place and in some way's is similar to 'The Life of Pablo.' (including in the fact it will be updated) But for me, it's still a unique experience and delvers deep into Kanye's religious experience much better than his prior album, whilst also documenting his thought's on the downfall of his relationship and how his mother's death affected him, although I wish he could have explored what his mother meant to him a bit more. Still a return to form and an album people will be talking about for years to come.

8/10

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