Auto-Tune’s vocoder function phases his strained croon so that it wobbles vulnerably, emphasizing his role as the wounded courtier, but he admits little or no blame for his romance’s decline in “Pinocchio Story,” he says Pinocchio was punished for telling a lie, but he, Kanye, is punished for telling the truth.
(While his cadences and flows as an MC have improved measurably, his singing calls to mind a rudimentary, indie-rock naïf following the melody around blindly). Virtually all the songs establish a simple thematic flourish that repeats statically, with West intoning variations on pro forma romantic sentiments.
Though the content - our hero purging his heart, a la Marvin Gaye’s Here, My Dear - ordinarily would be the focus of discussion for a platinum rapper, the musical structure overshadows his attempts at introspection. The full album is a dislocating listen, which was clearly West’s intention he’s asserted loudly that he expects extra kudos for pushing creative boundaries. 808’s and Heartbreak, Kanye West’s fourth solo record was released yesterday, after months of hype and debate, and weeks of leaked tracks, all of which feature the stricken producer/MC singing and half-rapping about lost love (primarily his broken engagement to designer Alexis Phifer) via the audio processor infamously known as Auto-Tune.
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