Don’t worry, your computer isn’t infected with some weird screen-warping virus; that’s actually what it’s supposed to look like. In the latest video from his Auto-Tune drenched album “808s and Heartbreak,” Kanye plays the poor-little-rich-rapper card while simultaneously re-enacting his latest acid trip.

The video opens with West in sunglasses and a color-block sweater—think Will Smith on “Fresh Prince of Bel-Air”—against a dark background which unexpectedly starbursts into sensory-overload. Wildly colorful images are digitized and distorted, stuttering choppily from frame to pixilated frame. Weak-stomached watchers beware: you may find “Welcome to Nausea” to be a more accurate title.

All the while, in a thinly-veiled attempt to connect with the masses, Kanye muses about how much it sucks to be bankin’—poor Kanye, rich in an economic recession. And what’s better than one gloomy Kanye? Lots of them!! The video feeds Kanye’s narcissism as it allows him to digitally multiply himself. He comes close to finally living out the fantasy of making out with himself in a music video.

Gone are the days when Kanye would wax poetic about the nature of religion, war, and love, and the days we wanted to awkwardly fist-pump to his infectious rhythms. Kanye strains himself for a decent rhyme scheme; the best that the lethargic “Heartbreak” can conjure is, “Bad enough that I showed up late / I had to leave before they even cut the cake / Welcome to heartbreak.”

The trippy visual concept is admittedly cool, except, well, it was also cool two years ago when the kitschy electronic-pop group Chairlift did the same thing in their video for “Evident Utensils.” Although Kanye has successfully sampled artists ranging from Ray Charles to Daft Punk in the past, it seems he’s found his limits; the sample only works well when your song is faster, better, stronger than those you copy. The digital splendor of the video is an ineffective attempt to prop up a song lacking both strong lyrics and a memorable beat.

Kanye is the self-proclaimed voice of our generation, but he’ll find it hard to support that claim if he doesn’t leave the over-digitized, robotic monotone to people with no actual talent—Britney Spears, anyone?

-Arhana Chattopadhyay