My Beautiful Dark Twisted Fantasy is the fifth studio album released by Chicago's one and only Kanye West. Following the explosion of positive attention received by 2008's 808's and Heartbreak, West released My Beautiful Dark Twisted Fantasy in November of 2010. As an established hip-hop artist and media personality, West dared to radically change the way he went about creating his next album. He retreated to a "self-imposed exile" in Hawaii the year prior to the album's release, with hopes to create a more communal recording environment. The Chicago native's fifth LP incorporated many aspects from his previous pieces, such as the unique implementation of symphonic, soul, baroque, and electro music. All thirteen tracks progressively bring listeners on an expansive musical journey which explores themes such as celebrity, race, consumer culture, and the idealism of the American Dream. Kanye West has birthed several classic pieces of music since his career began in the early 2000s, and My Beautiful Dark Twisted Fantasy is undoubtedly one of the highest quality hip-hop albums ever released.
1. "DARK FANTASY"
The album opens with an epic sounding, multi-layered vocal oriented before being brutally interrupted by a hard-hitting beat and West's opening verse shortly following. Strong production starts from the opening seconds of this LP, which is accompanied perfectly by West's lyrical wit and cleverness. An effortless vocal transition around halfway through "Dark Fantasy" also prepares listeners for the implementation of multiple unique, personality-filled voices. Among all studio albums, My Beautiful Dark Twisted Fantasy provides the widest range of emotional presence, which is represented through the drastic use of vocal effects.
2. "GORGEOUS (FEAT. KID CUDI & RAEKWON)
My Beautiful Dark Twisted Fantasy is informally referred to as one of the greatest modern rap albums because of not only the performance West offers, but also because of his ability to weaponize other artists. In other words, this LP was groundbreaking for the reason that so many other artists were involved in its creation and each used their contributions effectively. "Gorgeous" allows Kid Cudi, one of West's newest signees and among the time period's most promising hip-hop artists, to shine fully through a infectiously-catchy chorus. West and New-York based Wu-Tang Clan member, Raekwon, pridefully boast their sense of style with unforgettable verses.
3. "POWER"
Arguably one of West's most well known songs, which is saying a lot, "Power" turns My Beautiful Dark Twisted Fantasy up to eleven. It was released in July of 2010, and immediately seemed to have merged West's fanbase and America into one. Quick hitting claps ride a prominent vocal sample while West attacks social issues he believes people are too afraid to confront in music.
4. "ALL OF THE LIGHTS (INTERLUDE)"
The intensity of "Power" drops off abruptly as the prelude to another highly popular West track, "All of the Lights." Lasting just over a minute in length, West establishes the melodies through crisp, authentic instrumentation. His use of strings and piano harmonize and transition perfectly into the vocal sample which marks the beginning of the song.
5. "ALL OF THE LIGHTS"
Despite no features listed on this track, which would be made into a music video and see itself as a single some months after MBDTF's release, "All of the Lights" is a star-studded vocal performance riddled with graphic rhyming and an underlying orchestral presence. Among the supporting vocalists is Rihanna, who would be later credited as a featured artist when the song eventually was marketed as a single.
6. "MONSTER (FEAT. JAY-Z, RICK ROSS, NICKI MINAJ & BON IVER)
The sixth song officially marks the transition of West's beautiful fantasy into a dark and twisted one. "Monster" avoids the acknowledgement of any politically correctness in the music industry, and has a beat filled bass and tom drums to darken the mood even more. Respectively accomplished emcees such as Jay-Z and Rick Ross show their scary side with offensive illustrations of backstabbing and double-crossing. Queens-based rapper Nicki Minaj had an explosive year with the newfound success of Lil Wayne's Young Money imprint, and West has later stated himself that Minaj's verse on "Monster" was among the most impressive of all time. Her uneasy, shaky vocals and unexpected changes of tone match perfectly to the instrumental. Additionally, American indie-fold band Bon Iver provides a notable, fitting outro to the song.
7. "SO APPALLED (FEAT. JAY-Z, PUSHA T, CYHI THE PRYNCE, SWIZZ BEATZ & RZA)
Each consecutive song in My Beautiful Dark Twisted Fantasy introduces more of some of the most influential artists in hip-hop. Orchestral strings are brought back in to lighten the mood created by "Monster," however the coexistence of rapid-hitting kick and snare never left. West recruits his G.O.O.D. Music label signees Pusha T & CyHi The Prynce to trade off impressive rapping skill with veteran New York hip-hop trailblazers such as Jay-Z, RZA, and Swizz Beatz. For over six-and-a-half minutes, "So Appalled" puts listeners in a trance filled with microphone passing and a constant barrage of lyricism.
8. "DEVIL IN A NEW DRESS (FEAT. RICK ROSS)
The constant rapping and rapid instrumentals take a well-timed tempo drop, and West's vocal performance adapts perfectly. Yet another beat with chopped vocal sampling creates such a unique listening environment. Although making a brief appearance on "Monster," Rick Ross finds a comforting, homestyle flow to pick up the nearly two-minute instrumental break that followed West's verse.
9. "RUNAWAY (FEAT. PUSHA T)
"Runaway" is a nine-minute song disguised as a lifetime of romantic disappointment, regret, and lust. Although West pours his emotions out onto the song's chorus Pusha T comes back to deliver another bulletproof set of raps, it is the vocal-less instrumental that creates a nearly unreachable level of immersion. An overly-simple piano loop, which consists of only one key being played across just four different pitches, floats above an ocean filled with drum-oriented and orchestral instrumentation. After West lays down the chorus for a final time, he uses the remaining four minutes to loosely hum along through a distorted jungle of vocal effects. "Runaway" is by far the most effective in forcing listeners to lose track of their sense of time and instead focus on appreciating the present moment.
10. "HELL OF A LIFE"
The tenth track of MBDTF uses a dissonant synthesizer progression to wake listeners up from the transformative experience given by "Runaway." Feeding into one of the central themes of the album, West's opening line explains his newfound infatuation with a porn actress. Heavily controversial depictions of race and immoral ways of living allow West to finally let go of his virtues and embrace his vices.
11. "BLAME GAME (FEAT. JOHN LEGEND)"
West depressingly finds himself facing the repercussions after his drug-induced, party-filled experiences of "Hell of a Life." Emotional strings are dragged out to provide support for the complex piano loop. His depiction of a toxic relationship filled with lies, cheating, and make-up sex is reinforced through various levels of vocal adjustments. It is clear to listeners that West's consciousness is frantically searching for solutions to his problems, with different pitches of his distorted voice talking to one another.
12. "LOST IN THE WORLD (FEAT. BON IVER)"
The tempo changes once again, this time picking back up. Bon Iver continues their effective contribution to MBDTF by harmonizing with West's cruel and introverted take on society. The Chicagoan is still struggling to find purpose, and takes advantage of the song's chorus to communicate this. The multiple layers interconnect to provide an energy-filled showcase of musical expression.
13. "WHO WILL SURVIVE IN AMERICA"
The song's title is chanted as track twelve fades seamlessly into the preaching of Justin Vernon, the lead singer of Bon Iver, atop a familiar drum pattern. Track thirteen serves as less of a song and more as a verbal summary of the previous hour of music. The analogy of comparing oneself to being lost in a forest to West's lack of sense of belonging is articulated very well by Vernon.