Kanye West review, Donda: Marilyn Manson’s gratuitous presence leaves a pungent taste that no amount of gospel can cleanse

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“I gave up doing things my way,” Kanye West sings to “Lord I Need You.” This lie hits 20 songs on Donda’s album by the long-delayed and semi-legendary producer. At 2 minutes 42 seconds, it’s one of the shortest paths. Be grateful for the little mercy.

Donda has experienced one of the most charged and enduring releases of music in recent memory. There are young artists trapped in limbo literally begging to be allowed to release their albums, but Ye was content to squeeze a few thousand dollars from fans via a listening party last week in Chicago before letting them hear it. Even after the record finally appeared on streaming services, West seemed desperate to back out and proceeded to accuse his Universal brand of releasing it without his permission.

It seems likely that West felt compelled to get a head start on his opponent, Drake, who appeared last week to reveal his late album, Certified Lover Boy, will be released on September 3. The Canadian star is the subject of Donda swipes: “Get out of my way… why losers never lose in peace,” West snaps up the organic-fueled “Junya,” a tribute to a Japanese designer. Many of these songs are a misnomer – “Lord I Need You” actually delves into his torn (but from the sounds of it, healed) relationship with his estranged wife, Kim Kardashian. Others are preoccupied with the West’s prolonged meditations on God and Jesus. The influences of the Dunda Gospel are woven more intricately than its predecessor, the seemingly distracted 2019 Jesus is King.

However, most of the best tracks recycle tricks from the previous best songs. The lively, lively “Believe What I Say” (one of a few really cool tracks on Donda) samples Lauren Hill’s “Doo Woop (That Thing)”, while the powerfully pulsing house throughout expresses the racing pulse of “Stronger”. “. Meanwhile, the slow punch on two of the finishers on “Jail” only serves to call Kendrick Lamar’s 2017 track superior punches, “Humble.”

There are brief glimpses of the ingenuity that drove genre-defying, era-defining works like 2007’s Graduation or 2010’s My Beautiful Dark Twisted Fantasy. Mike Dean, one of West’s longtime collaborators and one of the game’s best beat-makers (who seemed close to finishing the project earlier this month), posts a mysterious drum crack on Remote Control. Piano tunes whirl like dolphins on the tops of Hans Zimmer’s debt-laden synth line in “Come to Life.” But these sparkling moments—like the sun’s rays dashing for a second through dark storm clouds—are so rare that by the time they appear on the other side, they are all forgotten.

What’s impossible to forget – or forgive – is the presence of two of the musical’s most despised characters in “Prison Part Two”. West warned of Marilyn Manson and Dababy’s involvement when the couple appeared at his hearing in Chicago, standing with him on the porch of the house that once belonged to his mother. Manson joins West for the phrase – “I think I’m going to jail tonight” – in a moment when he blatantly mocks what brings bile down my throat. It is unclear whether West is attempting some kind of commentary on “abolition of culture” or the use of these men as a religious metaphor: neither can be justified. Manson is currently facing multiple lawsuits over allegations of sexual assault (he has denied all accusations against him), including by actor Evan Rachel Wood, who has alleged that Manson has groomed and abused her for years. DaBaby, who has become increasingly stubborn in the face of criticism for his ignorant, homophobic comments about people living with HIV, takes the “poor me” route as he sings: “I say one thing they don’t like… Kick me out like I’m rubbish / And this food you removed From my table? / Do you know that he feeds my daughters?

West is clearly surrounded by a cast that’s either too scared or too exhausted to say “no,” but it speaks volumes about so much society’s indifference toward rape survivors that Universal will be releasing with Manson. Donda’s recurring release often felt as though West was intentionally testing them, along with his fans, critics, and label. How far can he go before we cut? To me, Manson’s “gimmick,” if you can call it that, it is. West joined forces with a man accused by at least 15 women of rape, sexual assault, grooming, assault, torture, and physical and psychological abuse. He stood on his late mother’s balcony with Manson, and sang along with him, openly mocking those women who were brave enough to come forward. Critics often have to remind themselves to review music, not to fall into exaggeration or controversy surrounding the artist. But by involving Manson, West made that impossible. Donda leaves a pungent aftertaste that no number of good tunes, gospel choirs, or church members will clean up. Zero stars.

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