Kanye West Drops Highly Anticipated Album ‘Donda’ – Release Radar
August 10, 2021
By Emeka OkonkwoWelcome to Release Radar. This is the weekly editorial where we round up the latest albums, singles and EPs dropping from across the planet, brought to you by The High Press’s music columnist Emeka Okonkwo. See below my thoughts on the latest releases from the week commencing 2/8/21.
Kanye West – DONDA
Technically, the album hasn’t yet been dropped and so it shouldn’t make the cut. However, it has become tradition to make exceptions for and to tolerate Kanye West’s manic album rollouts. The wait for his elusive 10th album: DONDA (titled after his late mother) goes on, but he played for a crowd at a release party in the Mercedes-Benz Stadium, after live streaming him and his collaborators living there for over a week. Between the crowd of masked hypemen and him literally levitating out of the stadium at the end of the performance, it’s safe to say he’s edging closer to cult leader status with each passing day. As for the music, he’s reached a sweet equilibrium between his new found faith in God and his knack for maximalist productions. Think 808s and Heartbreak mixed with Jesus Is King. The raps are self-aware and heartwarming, the features come good (especially Jay Electronica and Kid Cudi) and it’s arguably his best work since 2015’s The Life Of Pablo.
Tinashe – 333
Tinashe returns with her first album since cutting ties with RCA. 333 is luminous neo-soul that doesn’t shy away from some audacious stylistic shifts: hyper pop, jazz and IDM are just some of the genres she delves into with a commendable lightness. Impressive guest appearances from Katrynada and Jeremih seal the deal. The newfound space and liberty seem to have aided her artistic flair; the result is probably her best work yet.
Mount Kimbie – Black Stone
Mount Kimbie have released Black Stone as a free download to commemorate four years since their last album Love What Survives. In a message accompanying the release, they claimed the song “didn’t feel quite right” back then. The duo couldn’t have picked a better time to release it than now. Black Stone’s busy percussive shuffle feels like a population getting back on its feet, tentative yet determined. It’s greyscale music video is as mesmerising as the song itself. “The video is about waiting, moving and stopping,” says director Peter Eason Daniels. Hopefully, this flash of activity points at a new Mount Kimbie project coming down the pipeline. Listen below.
The Weeknd – Take My Breath
Abel Tesfaye is back with his first single after the After Hours era. He’s dubbed this era ‘The Dawn’, yet the lyrics are draped in his signature darkness. “I know temptation is the devil in disguise / you risk it all to feel alive” he croons in a hair-raising falsetto. The vibes are vintage Max Martin: glitzy disco and synthwave.
He’s still endlessly oscillating between making his lovers submit and submitting to his lovers. This time he slides into the latter bracket, so much so that he literally gets choked and dragged across the ground by a woman’s tentacle-esque braid in the music video. You won’t bat an eyelid if you’re a long time fan, nothing has felt more on brand for him than erotic asphyxiation. When in full swing, Take My Breath is an earworm and a guaranteed hit.
Nas – King’s Disease
It’s only been a year but hip-hop heavyweight Nas is back with King’s Disease II, the sequel to 2020’s Best Rap Album Grammy winner and comfortably the strongest release of the week. It’s hard to believe it was the first Grammy win for an MC of his pedigree, but with the sequel he’s put himself in pole position to win it again. The soaring victory lap sees the Queens native reminiscing on life as a hustler-turned-mogul, his 90’s grit meshes perfectly with Hit-Boy’s modern production. There’s an Eminem verse on here that has justifiably set the internet ablaze; it’s a rare return to form for the Detroit legend. He pays some heartwarming homage to recently deceased hip-hop greats, all while letting off some head-spinning flows.
During a speech at the album release party, a clearly intoxicated Hit-Boy took some thinly veiled shots at Kanye West and his aforementioned album rollout. When commemorating him and Nas’ recording process, he said: “It’s no hooplah… It’s not 100 ni**as producing the beats and writing the rhymes… we’re not on IG live putting up a weird ass stream”. As unnecessary as the shade was, he’s right. He and Nas have put out a future classic without all of the theatrics.
damn why Hit-Boy going at Kanye neck? 😧😭 pic.twitter.com/cmzoXzF8CS
— Max B In My Top 5 (@CalmYeWest) August 6, 2021
Fredo – Independence Day
Just six months after the release of his last album, Fredo returns with Independence Day. The title alludes to him finishing up his label contract and becoming an independent artist (He also dropped the album on Jamaican Independence Day). On the lyrical front, it’s everything you’d expect and more. He skates through gritty tales of death, drugs and deception with a scorching tenacity, albeit with some noteworthy missteps. Lines like “How you drillers when you only done one stabbing?”come off as crass and careless from someone of his status. Overall though, Fredo sounds hungrier and wittier than ever. From the Naruto sample in the title track to the skeletal eeriness of the Outro, production wise, it serves up a plethora of dark, sombre tones. Elsewhere, some solid guest appearances from the likes of Headie One, Potter Payper, Clavish and Suspect keep it as a strictly UK affair. It’s a solid project, but a lack of introspection and some stale production choices mean Independence Day doesn’t hit the highs of Money Can’t Buy Happiness. It’s good enough to keep existing fans satisfied, but won’t do much else to improve his ranking relative to other UK MC’s.
Unknown Mortal Orchestra – That Life
“That Life” follows “Weekend Run,” the bands first single since the release of 2018’s Sex & Food. It’s a blissful listen. Even when UMO leans into pop territory, the vintage tones on New Zealand native Ruban Nielson’s voice makes you feel like you’re listening to some obscure indie band from the early 90s. You’ll find yourself singing the hook halfway through your first play. Spiralling guitar licks and some cryptic songwriting come together to form a psychedelic and soulful summer jam.
Be sure to let us know your thoughts on any of the new releases, including any that may not have been featured in this piece, in the comment section below for a chance of being featured on The High Press’ social pages.
