West drops the Auto-tune on the third verse and snarls his way through a furious (and misogynistic) indictment of the hollow façades of the “second string b-tches, tryna get a baby.” The album’s undeniable highlight, however, is the six-minute-long “Blood on the Leaves.” West returns to his Auto-tune delivery from 2008’s 808s and Heartbreak in an emotionally exhaustive effort set against vocal samples and piano chords taken from Nina Simone’s cover of “Strange Fruit.” As the track’s tension crescendos to climax, the imperious horn blasts of TNGHT’s “R U Ready” grip the track by the throat. Unlike Dark Fantasy, where the devil was in the details and West’s excessive use of them, Yeezus is as ghoulishly lithe as a coked-out runway model.Īrmed with only Daft Punk’s plucking synthesizers and an impassioned growl on “New Slaves,” West reconciles “rich n-gga racism” and the unfortunate label of aspirational consumerism appended to black culture in America by breaking down traditional social power structures, rapping “You see it’s leaders … and it’s followers / But I’d rather be a d-ck than a swallower,” along with a host of other unprintable rejections of the American social hierarchy, including the Hamptons. The album’s production was also significantly pared down by super producer Rick Rubin - a move that undoubtedly lends Yeezus an intense, minimalist aesthetic. Despite what his newly adapted icy public persona might suggest, the lyrical content on Yeezus is intensely personal.
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West also sounds far more engaged lyrically than on Dark Fantasy, although much of West’s emotional detachments on that album were by design.
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West combines disparate elements of house, trap, dancehall, industrial and jazz into a rhythmic master class that seems far more lean and focused in its execution than the sweeping, cathartic grandiosity of Dark Fantasy. That same combination thrusts West into uncharted territory on Yeezus. It’s West’s brainchild Yeezus, however, that will be the locus of musical discussion this summer - a win-win for West, whose only defense against accusations of megalomania is a combination of artistic genius and cultural relevance that seems to nip at the heels of his superhuman narcissism. Reports and speculation regarding the couple’s daughter are already well underway.
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To be fair, “Yeezy season” came early this year: Yeezus leaked on June 14 (four days prior to its targeted release date), and one day later West and girlfriend/reality TV star Kim Kardashian became parents to a baby daughter born about a month earlier than expected. “Yeezy season approaching / F-ck whatever y’all been hearing.” So begins Kanye West on “On Sight,” the opening track of Yeezus, his solo follow-up to 2010’s My Beautiful Dark Twisted Fantasy.