Now take that formula and apply it to Yeezus, the follow-up record for one of the most acclaimed albums in recent memory and the culmination of a many-month-long marathon of calculated, “anti-commercial” self-promotion by one of the most “controversial” artists making music today. To the ever-present contingent of people who seem to think that every music critic bullshits their reviews (though they continue to read reviews, go figure) based on what they think is the “trendiest” or “coolest” judgment at the moment, a positive review that verifies the hype is typical groupthink a negative review is some kind of deliberate, iconoclastic posturing and a mixed review isn’t sensational enough to register. From a nitty-gritty standpoint, though, it’s really a lose-lose-lose proposition. The chance to write something possibly consequential about a record of - for better or worse - importance is a validating change of pace. In a way, writing reviews for hype-monster records is what critics live for - we wade through more albums each day than you can imagine, and most of them are standard, average, ultimately inconsequential efforts (sorry, but it’s true). Albums like Yeezus do not come along often, but when they do, reviewing them is a blessing and a curse.
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