Lou Reed wrote a gushing, 2,000 word review of Kanye West's Yeezus
for The Talkhouse
, revealing in-depthly as to why he thinks West and his new album are on another level from anything else being done in music today. Other than one line about farting, Reed's review is excellent, insightful, and at times biographical. Is it that shocking that the "ostrich guitar" inventor is a huge fan of 'Ye? From songs referencing controversial topics such as drug addiction (Reed's "How Do You Think It Feels", West's "Addiction") and strained relationships with women ("The Kids" and "Blame Game"), to recent collaborative albums (Reed and Metallica's disastrous Lulu
to Kanye and Jay-Z's chart-topping Watch the Throne
), the two men have a surprising amount in common.
An excerpt from the review:
"It's fascinating it's very poignant, but there's nothing warm about it, sonically it's really electronic, and after a while, his voice and the synth are virtually the same. But I don't think that's a statement about anything it's just something he heard, and then he made it so you could hear it too.
At so many points in this album, the music breaks into this melody, and it's glorious I mean, glorious. He has to know that why else would you do that? He's not just banging his head against the wall, but he acts as though he is. He doesn't want to seem precious, he wants to keep his cred."
These are two artists who are are always trying to alter the musical landscape by trying different things and pushing boundaries (and in the Nucleus' case, he'll let you know about it). While Reed's 1975 unlistenable feedback album Metal Machine Music
didn't have nearly the amount of success as Yeezus
, it is a prime example of how unafraid Reed was of alienating the record labels and the critics in order to make what he believed to be beautiful music for his fans. Something about the experimental nature of Yeezus
tells me that West felt the same way.
At this point, nothing these guys do would surprise me and who knows, maybe they're working on a Reedzus (Louye?) record as we speak. I'm imagining Reed's monotone paired with a piercing industrial metal riff, backed by a loop of North West's cries.