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www.fasterlouder.com.au

Bon Iver on new Kanye record?

Jay-Z and Beyoncé are Grizzly Bear fans; Beyoncé ’s sister Solonge loves Boards of Canada; The Roots’ new album features Joanna Newsom, Dirty Projectors and Monsters of Folk and now it seems that Kanye West is set to leap on the trend by featuring Bon Iver on his new record.

According to Stereogum “Kanye flew out [Bon Iver leader] Justin Vernon to his Hawaii studio for a few days, and that they worked together in some capacity, and that, at the very least, Ye’s expressed interest in using a well known Bon Iver song as a backing track/prime sample for a new Kanye song.”

Kanye featured Bon Iver’s cover of Feist’s song The Park on his blog in January last year and followers of Kanye’s gloriously unhinged blog posts have also read about the hip-hop superstar’s other indie faves including Bat For Lashes, Holly Miranda, Grizzly Bear, Feist and others.

Kanye’s forthcoming album originally had the splendid working title Good Ass Job – completing The College Dropout, Late Registration, Graduation sequence of titles, though sadly the new album has now been retitled Dark Twisted Fantasy.

The record is expected to appear in mid-November and feature guests including Beyonce, RZA, Q-Tip, Pete Rock, DJ Premier, Drake, Nicki Minaj, Eminem, Lil Wayne, Jay-Z, Kid Cudi, Rick Ross and T.I.

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Braveheart81

Braveheart81 said on the 14th Sep, 2010

from smh.com.au


Rapid fire Kanye redefines music journalism

Jonno Seidler
September 14, 2010 - 8:15AM

Kanye West has officially put me out of a job.

As a content producer par excellence, the most notorious MTV awards-disruptor in hip-hop is redefining how we understand pop culture by creating it faster than music journalists can write about it. Between his two blogs, which focus alternately on music and design, voluminous Facebook and Twitter postings and live streaming channel, Kanye has taken the power of the interviewer and firmly placed it back in the hands of the subject.

Blurring the lines between his private and public personas almost as vehemently as he did on his last album, 808s & Heartbreak - which addressed the twin losses of his mother and his fiancé - West has, in essence, created a space where entertainment writers may eventually cease to exist.

Sure, much of what West pours forth on Twitter, like last week's three-page long, rambling apology to Taylor Swift, is unrefined, poorly spelled and often contextually confused. But the sheer honesty and rapidity of material the rapper offers to his fans, who still number in their millions, allows him the privilege of image control which most other stars never attain in their lifetime.

"These tweets have no manager, no publicist, no grammar checking..." he announced mid-stream, "This is raw."

Today, whether the workaholic West bounces back, loses the plot, starts a fight or embarks on another project, the news will no longer be filtered through the traditional channels of media.

West formally acknowledged this when he thanked [Twitter founders] "Biz Stone and Evan Williams for creating a platform where we can communicate directly."

The Kanye West model of self-perpetuating news coverage ensures transparency on an unprecedented scale and may well change the methods by which we consume celebrity. In refusing to do interviews that could be whittled down to suit an editorial agenda, West's material is open to anybody who wants to access it, while the only person to misquote him will be himself.

Recently, Jonah Weiner published a profile on West for Slate magazine comprised entirely of what he had gleaned from the star's Twitter account, conceding that the material there was better and easier to synthesise then from a regular interview. Embracing new media, Kanye has also connected with fans via his 'Good Fridays' project, in which he releases new studio tracks from his blog, free of charge each Friday until Christmas.

Yesterday marked a year since Kanye's MTV Video Music Awards faux-pas, and though Taylor Swift's overt musical retaliation 'Speak Now' set Twitter ablaze, West came up trumps by debuting a new song in which he unabashedly made fun of himself. With a controversial chorus devoted entirely to all the names he'd been called since storming the stage this time last year, the media-savvy entertainer even managed to anticipate his own negative press and weave it seamlessly into his highly anticipated performance.

When everything there is to know about a celebrity is being transmitted straight to a hungry public, the need for music journalists such as myself becomes increasingly questionable.

The problem of interviewing someone who speaks to millions of people online everyday, reviewing singles which are deliberately leaked with little regard to label policy or even reviewing a concert filmed and streamed especially for user consumption, may well render many of us superfluous. In his own bizarre fashion, Kanye has thrown down the gauntlet to writers, to expand their creativity as fast as he can write 140 characters or face ignominy.

Others will undoubtedly follow suit.

As the Internet struggles to keep up with West's output, the game is changing. West managed to dominate the VMAs, renowned for being scripted down to the letter, even without his characteristic microphone stealing. Just as Kanye has adapted to public backlash, illegal downloading and social networking culture, we must change our tack on the means by which we profile our most intriguing entertainers. Otherwise, our job may soon be done for us.

Jonno Seidler is a freelance music journalist.