I wanted to put all of these ideas into one universe, one world. Whack, a 22-year-old singer and rapper from Philadelphia with an absurdist bent, took the concept one step further with Whack World-each song is exactly one-minute long but feels a galaxy wide- telling the Times: "I have a really short attention span, but I have so much to offer.
Particularly Daytona and Kids See Ghosts, which adopt the song-craving appetite of the streaming era and apply it to a condensed album format: expertly curated with no clutter, just seven songs that demand rotation. The batch of releases out of GOOD Music-West, Cudi, and Pusha-T, with a Teyana Taylor project set to follow-demonstrate a new configuration for the genre. Lately, though, the album has evolved into a slight, willowy offering-it's the EP all grown up.
As it turns out, by doing less-slender track arrangements, compact running times-these artists have done and said more than their contemporaries. Of late, one central thesis has taken hold: In an overstuffed music landscape, where, according to the New York Times, " woozy, blown-out rap albums" govern the charts, moderation has become an antithetical form of self-optimization. They are projects that test the boundaries of how we come to understand what an album is, and what it ought to be. Along with Everything Is Love, a mostly unconnected string of releases from Tierra Whack ( Whack World), Kanye West ( ye), Matt & Kim ( Almost Everyday), Pusha-T ( Daytona), Nas ( NASIR), and Kid Cudi and West ( Kids See Ghosts), have adopted an intentionally spare framework-the 15-track Whack World, for example, runs just 15 minutes. The album, as genre, is currently undergoing a remolding. New York Magazine's Craig Jenkins encapsulated the album's all-embracing sentiment perfectly: "It's the sweetest possible ending to the trauma of the last two records, husband and wife united in shade and shit-talk," he wrote, concluding: "The message isn't 'Y'all could never do this.' It's that against all odds, two of us just did." To lacerating effect, the Carters-as they are officially billed on Tidal, the streaming platform the couple has a stake in, where the album was exclusively housed for 24 hours before coming to Spotify and Apple Music-chart the passageways of how they got to where they are, all while having fun along the way. "I apologize to all the women whom I toyed with your emotions/'Cause I was emotionless," he rapped to his wife on the title track.
It is a fitting finale to the couple's unofficial musical trilogy, which began in 2016 with Beyoncé's Lemonade, an album of sheer grace and fury-which was also televised through an hour-long broadcast on HBO-and continued on 4:44, Jay-Z's 2017 apology record, where he, at last, owned to his infidelity. The days since have augured all manner of revelations: the project, titled Everything Is Love, is a measured exegesis on themes hauntingly mundane to the Carters-family and success, love and betrayal of the flesh. On Saturday night under the shield of London Stadium, just as Beyoncé and Jay-Z brought their most recent "On The Run II" tour date to a close, a large sign announced itself with a playful wink: "ALBUM OUT NOW." It was the latest message from two artists whose careers have been marked by public dramas both cryptic and blunt-they had again summoned their congregation the long-anticipated joint album was finally, startlingly, here.
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