As a music fan, you’d hope adversity doesn’t stray too far from Kanye West in the future. His inspiration for 808’s and Heartbreak, the autotuned pop record West put out in 2008, was drawn from a break-up and his mother’s passing. These would seem more impactive tragedies than the alienation from mainstream American culture that preceded the recording of My Beautiful Dark Twisted Fantasy.

Some will feel that West’s laments aren’t vindicated by a mere slip-up at an award show. But the hunger, determination and attitude found on his fifth album reveals that, to him, being hung out to dry by the establishment hurts. Or at least he can emulate that it does.

The sincerity of West’s lust for revenge shouldn’t be ridiculed, but it is slightly paradoxical that the fashionista who resorts to paradisal surroundings in Hawaii, flying in any and every legend he sees fit, is the same artist who pits himself against everything mainstream and wack on an album whose origins in attitude and sound lay in 1990’s hip-hop (’Gorgeous‘ sort of shows ‘em what’s what).

But while West boosted his guts courtesy of a 36th-Chamber grittiness (RZA is all over the simplistically wicked opener ‘Dark Fantasy‘), the point is that the album can’t be judged by the rigid standards of underground rap. If it were, it may not stand scrutiny—jabs like ‘choke a South Park writer with a fish stick‘ are there for their sincerity, not their lyrical finesse. To his credit, Kanye has consistently sought an expression beyond the realm from which he emerged at the end of the 1990’s.

Above all, the album’s meticulous production should be appreciated. On a 1990’s mixtape, ‘Gorgeous’ would have remained a rudimentary loop, but here, subtle strings and pianos complete the picture by the time Raekwon hops on it. As the album continues, the strongest moments appear when West lets simplicity run its course—which can’t be an easy feat on an endless budget. ‘Runaway‘ and ‘Blame Game‘ shine the brightest in a strong bunch of songs; both are catchy and well-crafted tunes that have the author as emotionally exposed as on his last album.

Like its creator, MBDTF isn’t without its blemishes. Yes, West’s creativity remains intact, but his new album is not as innovative—and perhaps won’t be as memorable down the line—as 808’s & Heartbreak. Then, of course, there are the expected blunders—Rihanna, of all the singers at his disposal, gets the lead vocals on ‘All of the Lights’—but we’re sure his fans couldn’t do without them.

Words Sven Carlsson