JESUS... This Record is Disappointing

1.5 stars

Kanye West needs no introduction. By the time this is published he will undoubtedly have kicked up a fresh onslaught of headlines that even dedicated fans must be jaded with at this point. In other news, research suggests that narcissists are more likely to be successful than people with healthy attitudes to self.

Kanye West’s latest release JESUS IS KING follows his 2017 pattern of releasing trimmed down records, with a run time short of half an hour with every track under 4 minutes. The most obvious thing that distinguishes it from Ye is its attitude to life, while Ye explores the jagged edges of West’s bipolar disorder, as well as West’s complex relationship with women, JESUS IS KING finds Kanye returning to the religious roots that shone through on gems like “Jesus Walks” more than 10 years ago.

JESUS IS KING’s gospel influences are apparent in the album’s palette. The opening track is amongst many others to revolve around layered, soulful vocals, although autotune and a touch of compression give them a distinctively modern sound, reminiscent of Bon Iver’s recent outings, or perhaps more obviously any number of modern-day croon rappers. Numerous gospel samples (including a reuse of father stretch my hands) provide the basis for tracks. None of these however, are innovative or interesting.

On JESUS IS KING’s strongest tracks we find Kanye’s following of Kids See Ghosts and the Life of Pablo, packing thick sub-bass and explosive percussion into the climax of “Selah”. The LP brims with eclectic instrumental choices, from the aforementioned gospel vocals, which find different contexts on each track; from Psychedelic on “Water”, to epic on “Selah”, and of course passionate and soulful on “Ever Hour” and “God is”; moody classical guitar on “Closed on Sunday”; and glossy, bubble-gum synths on Pi’erre Bourne-produced “On God”.

Features from Clipse (Pusha T and his brother) stand out for their blunt, well-crafted rhymes, Kenny G’s appearance on the same track fits surprisingly well. Unfortunately, West’s songwriting kills the listenability of tracks; it is evident the Keeping up with the Kardashians star has little to say, his religious message incoherent and inconsistent, and his verses filled with inane bars on not “letting his family starve” and people judging him, which come across as blander and more unrelatable than ever. Upon further rumination, not a word or tune from Kanye’s mouth adds value to the record.

West also treats listeners to his un-autotuned voice, an abhorrent timbre that manages to be thin and painful on the ear at the same time. The grating of West’s vocal chords is worsened when they carry the weak melodic lines of tracks like “Closed on Sunday” and “On God”; please don’t subject yourself to them.

Ultimately, while JESUS IS KING brings a few interesting tracks to the table, most don’t warrant a second thought. A first listen is generous, and no listening is best.