The track that embodies the album’s restless hunger and ambition is “Runaway.” The song also anchors a thirty-minute video, which excerpts many of the album’s other offerings, and features a human-bird hybrid girlfriend, a dinner party (awkward, of course) with ballet dancers, and some explosions. The motif is a slow series of sustained descending half and whole notes played on the piano. The beat is aggressive, as are most of the album’s rhythms, though it seems deceptively gentle much of the time. There is a low synthesizer throb that is felt as much as heard, snatches of someone shouting “Who gotcha?,” and then a chorus of voices, one of which is West’s. It’s a mournful sing-along that turns out to be a roast of West: “Let’s have a toast for the douchebags / Let’s have a toast for the assholes.” There is no doubt that he means himself, as he wanders in and out of rapping and singing, always finding “something wrong,” and apologizing to someone who’s been putting up with him for “way too long.” The song disintegrates, and then West comes back, telling a woman to “run away from me, baby.” When the track returns in full, Pusha-T, of Clipse, is the guest rapper, and he doesn’t feel obliged to stick to West’s script. (He raps about his watch.) Then West reverts to singing about his own failings. All of this is done over a soundtrack that has grown a string section and sounds like the theme for a period movie. There follows a long passage of what appears to be a guitar solo but is actually West singing through a software effect. It’s nine minutes, stem to stern, and about as loopy as entertainment can be before it becomes news. Be glad that West can’t tell the difference, and probably doesn’t want to learn.