k-os, Kanada’s Kanye

If I were to judge a book by its cover or, in this case, a CD by its jacket, I’d say that singer/rapper/producer k-os is trying to make a statement. What that statement particularly is, I don’t know. Aesthetically, the case is an obvious throwback to his debut (and to many, best) album, Exit. k-os’ fourth album, Yes!, remembers Exit’s gradient greens on both the CD jacket and disc, but sports the contradicting colour red, and replacing the green, lit EXIT sign, is a playful red YES! sign in its stead. What this infers to me is that k-os is trying to remind us of his roots. But there’s something different here. k-os is no longer k-os.

Instead, he has become the bionic man. Deviating far from his originally organic and almost militia-quality style, Yes! seems to have quite the opposite effect, employing an American Army of digitizers and synthesizers. Song titles and subject matter are general k-os fair, from love to pacifism to music to well, “being different.” However, the message is muddled through try-hard rhymes and experimental rhythms and flows. Where Exit’s lyrics are an obvious fine wine, embodying nearly 30 years of growing, learning, and struggling, Yes! is like the quickly generated soda pop for those of the masses who enjoy proclaiming their disgust with mainstream media.

Don’t get me wrong, amidst my obvious criticisms, the album still has its ups. Songs like Burning Bridges, I Wish I Knew Natalie Portman, 4,3,2,1, and Eye Know Something are all catchy-chorus, single-material. But even the entire album does not hold a candle to any lone track on Exit.