tag:blogger.com,1999:blog-8579991251253453982.post5401322055132206646..comments2023-05-14T11:18:59.053-04:00Comments on D I X O N F O M A: Pitchfork ReviewAnonymoushttp://www.blogger.com/profile/04470742150023866200noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-8579991251253453982.post-34879055086111919342008-12-03T01:06:00.000-05:002008-12-03T01:06:00.000-05:00your embedded quote omitted the term "large scale"...your embedded quote omitted the term "large scale".<br><br>I think it's important to note that what Kanye West is doing is innovative for the arena he plays within. But, as Plagenhoef says, he does heavily borrow from "indie-centric assholes" such as the Notwist who've been employing the use of drum machines and orchestration since '03.<br><br>Don't get me wrong, though. Although Kanye is taking from the innovation of others and brining it to a mainstreamed audience, he's doing it in a very smart manner. <br><br>By transcending both underground and mainstream genres, he creates a new space for himself that allows him to be like no other: a hybrid consisting of both dominant and underground culture.<br><br>He successfully did this with Graduation last year by borrowing underground electro dance rhythms and melodies and using it as a foundation for mainstream hip hop.<br><br>In (finally) hearing this record in its entirety, I believe he's used the same formula, but in more of a reversed way:<br>Because it's an emotional record, mainstream hip hop takes a backseat and the use of what has been characterized as 'folktronica' becomes dominant. Regardless, Kanye still enables himself to become a hybrid of both genres, which allows his innovative persona to propel forward.Anonymousnoreply@blogger.com