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Its downbeat melodies offer a topography of our culture. West’s most inward album probably wasn’t intended as a capitalist critique. After all, no Louis Vuitton can stitch the wound of losing somebody you love. It is fitting the 21st century’s most radical artist would see that myth for what it was: a machine good for nothing but producing lonely disenchantment. Hip-hop was among the 20 th century’s great cultural evangelists for unfettered consumerism. It was perhaps the first mainstream pop record to capture something of our current depressive crisis. The legacy of 808s reaches beyond an infectiously refrigerated sound. You can taste it in the acid of Robyn’s bittersweet promise on ‘Honey’: ‘No, you’re not gonna get what you need/But baby, I have what you want/ Come get your honey’. You can discern in the zombified gloom of Travis Scott’s pornographic catalogues of designer consumption. Fisher called it ‘depressive hedonia’ and it’s the background noise of every modern pop record worth hearing. Eventually, the pursuit of pleasure, rather than the pleasure itself, becomes our only available therapy. Neoliberalism isolates us from our peers. The effect on the mind is frankly devastating. It was the first mainstream pop record to capture our depressive crisis And our ministers assure us that there is no alternative. Anything that defies a quantitative measurement- kindness, love, community- is as an obstacle to economic progress.

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Every talent, skill, and emotion is commodified, its essence chained to a free market value. Unlike West, he could give it a name: capitalist realism, the acceptance of competition as the default design for humanity. Mark Fisher, a critic who often referred to pop in his readings of modern economics, wrote of ‘a sense of exhaustion, of cultural and political sterility’ haunting the routines of contemporary life. It’s because the capitalist norms that cripple us, as some theorists have argued, are so normalised, so endemic, that they almost become invisible. Why are Kanye’s lyrics on 808s always so vague, always gesturing to a problem without uttering its name?

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Late Registration cut ‘Roses’ found pathos in a retired secretary’s struggle to pay for her hospital bills on a middle class pension. But what is this jail? On first listen, the raps sound a little toothless for an MC who began as a forthright critic of social injustice. So hoarding luxury Francophile accessories doesn’t make you happy. West laments: ‘There is no YSL that they could sell/ To get my heart, out of this hell/And my mind, out of this jail’. Listen to the album’s closing soliloquy, ‘Pinocchio Story’, a freestyle recorded live at Singapore. The vocals remain frosted over in alienating layers of distortion and reverb

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The rhymes are clumsy: ‘Dad cracked a joke all the kids laugh/ But I couldn’t hear em all the way in first class’, but West’s blunt words suggest the alienated lifestyle of the improbably rich and famous. He determines to rap, perhaps attempting to lure back any listeners put off by ‘Say You Will’, but the vocals remain distorted, frosted over in alienating layers of distortion and reverb.

‘Welcome to Heartbreak’ opens on the funereal hum of a single cello. Listening back to its songs, you can appreciate the influence while also noticing how eloquently, if unintentionally, its hollow drums reflected a planet still in deep recovery from a colossal global financial failure. Glance at the charts and you find its progeny everywhere, from Drake’s early mixtapes to the modern output of smart new MCs like Juice WRLD and Gunna. Ten years on, time has vindicated 808s as a watershed in popular music production. What followed was his chilliest record yet, a cold fusion of Human League keyboards and autotuned cyber-soul released to both widespread acclaim and general confusion. 808s is haunted by the loss of West’s mother, Donda West, who passed during a liposuction operation paid for by the Chicago rapper himself. We all know the tragic circumstances of its creation. Nevertheless, its legend has endured surprisingly well. Scarface reckoned with suicidal thoughts on the 1991 Geto Boys classic ‘Mind Playing Tricks on Me’, several years before a hungry young West helped Jay-Z patent The Blueprint, whereas T-Pain recognised autotune as a machine for striking pop gold in 2007.

It’s easy to overstate the impact of an album as singular as Kanye West’s 808s and Heartbreak, so let’s begin with the caveats.