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He’s possibly unravelling but he’s capable of suspending disbelief in more than on way.

Let’s call it. The release of The Life Of Pablo (Swish, Waves, whatever) was one of the most infuriating things to have experienced in a long time for any release. The impression of an album with no restrictions or deadlines felt amateur; at best, a sympathetic look into an artist’s process which they are never finished tinkering with.

Then that Bill Cosby tweet. It was the last straw for many, including me. I wasn’t going to listen to this irritating egomaniac anymore.

But of course, once TLOP dropped, I did. Curiosity got the better of me. The album is largely a mess, with Kanye’s words finding less meaning and substance than ever before (why rap about your wife’s ex when you’ve just had two kids?) but what redeems a listen to any Kanye album is his executive production, which is always interesting to hear how he weaves the ideas of multiple producers into one song. It’s conflicting to enjoy any of it still.

I watched SNL as I do every week. The performance of ‘Ultralight Beam’ shone regardless. The gospel choir add some magic but it’s Chance The Rapper (one of the greatest new artists of the last five years) who lifts the performance and brings a new raptured energy to Kanye’s music, as his own state seems to crumble around him.

Hear the song on Tidal.

Dilla’s lost album gets a release date

Three years on from the news, and a week on from the 10th year since he passed, it was announced that Nas’ Mass Appeal label will finally release the album in conjunction with Dilla’s Estate as PayJay. To be released on April 15th, 14 years after it was originally scheduled to come out ( the album was literally shelved and Dilla moved to LA where he made his name), The Diary features ‘Diamonds’, ‘Ice’, ‘Fuck The Police’ and ‘Trucks’.

‘The Introduction’ is the first song from it, produced by House Shoes with Dilla, is a wavy synth stomper.

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