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. ▀▀ :..
p r o u d l y p r e s e n t s ..::
░ Artist | Kanye West
Title | My Beautiful Dark Twisted Fantasy
Genre | Rap
Source | Vinyl
Format | Album (Limited Edition)
Label | Roc-A-Fella Records
Catalog | B0014695-01
Released | 2010
Ripped | 2013
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Quality | 257 kbps avg at 48.0 kHz ▄▄███▀▀
Encoder | Lame 3.98.4 V0 ▄▄██▀▀ ░
Size | 133.55 MB ▄▄█████▀ ░░░
Playtime | 1h 08min 15s ▄███▄▄▄▄▄ ▄█▀ ▓█▄ ░░
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eh about this release ░░░░░░░ ▀██████ ░░ ░ ██▀ ░▓███
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.. ▄▄▄████████▀█▀▀░ ░ ░░░▓██▀
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░ R E L E A S E I N F O R M A T I O N
Coming out of left field (ie, Chicago, a city rarely praised for its
hip-hop exports), Kanye West was an unlikely sensation and more than
once defied adversity. Like so many others who were initially
inspired by Run-D.M.C., he began as just another aspiring rapper
with a boundless passion for hip-hop, albeit a rapper with a Midas
touch when it came to beatmaking. Indeed, it was his beatmaking
prowess that got his foot in the industry door. Though he did quite
a bit of noteworthy production work during the late 90s (Jermaine
Dupri, Foxy Brown, Mase, Goodie Mob), it was West's work for
Roc-A-Fella at the dawn of the new millennium that took his career
to the next level. Alongside fellow fresh talent Just Blaze, West
became one of the Roc's go-to producers, consistently delivering hot
tracks to album after album. His star turn came on Jay-Z's classic
"Blueprint" (2001) with album standouts "Takeover" and "Izzo
(H.O.V.A.)." Both songs showcased West's signature beatmaking style
of the time, which was largely sample-based; in these cases, the
former track appropriated snippets of the Doors' "Five To One",
while the latter sampled the Jackson 5's "I Want You Back"..
As fatiguing as it is invigorating, as cold-blooded as it is
heart-rending, as haphazardly splattered as it is meticulously
sculpted, "My Beautiful Dark Twisted Fantasy" is an extraordinarily
complex 70-minute set of songs. Listening to it, much like saying or
typing its title, is a laborious process. In some ways, itÆs the
culmination of Kanye West's first four albums, but it does not
merely draw characteristics from each one of them. The 13 tracks,
eight of which are between five and nine minutes in length,
sometimes fuse them together simultaneously. Consequently, the sonic
and emotional layers are often difficult to pry apart and enumerate.
Nothing exemplifies its contrasting elements and maniacal
extravagance as much as "All Of The Lights". Rattling, raw,
synthetic toms are embellished with brass, woodwinds, and strings.
It's a celebration of fame ('Fast cars, shooting stars') and a
lament of its consequences ('Restraining order/Can't see my
daughter'). Its making involved 42 people, including not one but two
French horn players and over a dozen high-profile vocalists, only
some of which are perceptible. At once, the song features one of the
yearÆs most rugged beats while supplying enough opulent detail to
make "Late Registration" collaborator Jon Brion's head spin.
"Blame Game" chills more than anything off "808s & Heartbreak".
Sullen solo-piano Aphex Twin plays beneath morose cello; with a
chorus from John Legend, a dejected, embittered West - whose voice
toggles between naturally clear-sounding and ominously pitched-down
as it pans back and forth - tempers wistfully-written,
maliciously-delivered lines like 'Been a long time since I spoke to
you in a bathroom, ripping you up, fuckin and chokinÆ you' with
untreated and distinctively pained confessions like 'I cant love you
this much'. The contrast in "Devil In A New Dress", featuring Rick
Ross, is of a different sort; a throwback soul production provided
by the Smokey Robinson-sampling Bink, it's as gorgeous as any of
WestÆs own early work, yet it's marred by an aimless instrumental
stretch, roughly 90 seconds in length, that involves some
incongruent electric guitar flame-out. Even less explicable is the
last third of the nine-minute "Runaway", when West blows into a
device and comes out sounding something like a muffled, bristly
version of Robert Fripp's guitar. The only thing that remains
unchanged is WestÆs lyrical accuracy; for every rhyme that stuns,
there's one deserving of mockery from any given contestant off the
"The White Rapper Show". As the ego and ambition swells, so does the
appeal, the repulsiveness, and - most importantly - the ingenuity.
Whether loved or loathed, fully enjoyed or merely admired, this
album should be regarded as a deeply fascinating accomplishment.
Everyone knows the group that put this out was shady, so their rip
probably was too. Who needs a cd anyway, here's the limited triple
vinyl.
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.. ░░░░░ ▀███████████████▄▄█▀▀██████████████▀▀ ░░░░░
::. ░░░░ ▀▀██████████████████████▀██████▀ ░░░░
ooh ye.. ░ ▀██████████████▄░▀███████▀
▀▀████████████▄▄▄▄ ▀
::t r a c k l i s t ::: ▀██████▀▀
::: . ▀▀
------------------------------------------------------------------------------
01. Dark Fantasy 4:39
02. Gorgeous (Feat. Kid Cudi & Raekwon) 5:57
03. Power 4:50
04. All Of The Lights (Interlude) 1:02
05. All Of The Lights 4:58
06. Monster (Feat. Jay-Z, Rick Ross, Nicki Minaj & Bon Iver) 6:18
07. So Appalled (Feat. Jay-Z, Pusha T, Prynce Cy Hi, Swiss Beats & The 6:36
RZA)
08. Devil In A New Dress (Feat. Rick Ross) 5:49
09. Runaway (Feat. Pusha T) 9:05
10. Hell Of A Life 5:21
11. Blame Game (Feat. John Legend) 7:48
12. Lost In The World (Feat. Bon Iver) 4:15
13. Who Will Survive In America 1:37
-----
68:15
------------------------------------------------------------------------------
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███▀▀ ::.. ▄███▀▀▀▀▀▀████░▓█ ▀▀██▀░░▄█▀▀ ▄█████▄▄░░ ▀███▄
██▀ ░ ███▄█████▄██░████ ██▓▄▄▀▀░▄▄█▀██░ ▀▀▄▄░▓██▀
and then we chill ▄██▓░ ░▄ ▄█▀█ ▓███ ▀███▀░░▄█▀▀▄▄██▀██▄ ░ ▀ ▄██▄
▄██▄ ▀▀▀▀██ ░███ █▓▀▒░▄▀ ▄█▀▀█▓░ ▀▀█▄░░████
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G R E E T I N G S ::: ▄██▄█▀▀▀█▀██▄█▀ ░░ ▀█▓▀ █▀ ░▄████ ▀█▄ ▀███
.. ▀█▓▀░░▄██░████ ░░░ ██▄▄░░ ▄▀ ██░ ▀ ░░▀█▀
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. █▓░███░▄███ ████░░ █▀ ██ ░ ▀░ ██
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▀▀▀█▓░░ ░ ░░░ ▄██▀ ▀█▓░█▀█▄░▓██▀
▀▀▀ ▀ ▀▀ G R E E T I N G S ██▄█░█▓▄▄█▄
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░ Special Thanks to DSP/CMS/FTD/KrbZ/JCE/FuFFeNS/IGR/IMPG/diss ░
and all rippers that have and continue to rip quality music.
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▀█▄░░░ ░ ▄ aSC' fairchild o4, 11 ▀ ▀▀▀
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