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Pablo’s paint is still wet - which makes the fact that it occasionally approaches the grandeur of a masterpiece that much more astounding. The album “will never be for sale,” West tweeted on February 15, and as you read this, who knows if that’s still true. But this has been par for the course for Pablo, a piece of music in such a constant state of flux that it feels utterly anachronistic to call it an “album.” It is not a slab of vinyl so much as a puff of the Cloud - or an auto-refreshing playlist, the concrete facts of its existence seeming to transform day by day based on the whims (and grandiose tweets) of its creator.
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“ima fix wolves,” West tweeted later that afternoon to his 19 million followers, even if it was unclear to anybody but him exactly what needed fixing. But even after the album’s exclusive release to the streaming platform Tidal in the early hours of February 14, the track - and perhaps Pablo itself - still seems to be a work in progress. For the Pablo version, though, he’s made a last-minute switch and replaced Sia with the avant-garde composer Caroline Shaw, and Mensa with the reclusive (and sorely missed) R&B singer Frank Ocean. That line comes from the latest version of a stark, eerie song called “Wolves,” which West first debuted a year ago at a fashion show for his Yeezy 750 Boost sneaker, and back then, “Wolves” featured guest vocals from Sia and Vic Mensa. Or at least I think he still asks that question on The Life of Pablo, but at press time, who can be sure. “What if Mary was in the club before she met Joseph?” Kanye West asks on his strange and sprawling seventh album, The Life of Pablo, which is, throughout, an audacious commingling of the sacred and the profane.