“How much do I not give a fuck? / Let me show you right now ‘fore you give it up.” These are the words Kanye West spits out in the bridge to the song “On Sight,” the opening track off his new record Yeezus. It’s likely he’s addressing the media when saying them, however it makes a grand statement about the album as a whole. After a few records of ever-evolving but always smartly constructed and commercially accessible hip hop, West has had enough. 2010’s My Beautiful Dark Twisted Fantasy was a crowning achievement of the highest order, enough to be called one of (if not THE) greatest records of the century. Crafting a follow-up certainly wouldn’t be easy, but in many ways West makes it look like child’s play. Those looking for challenging and obtuse in their hip hop will find it on this new album in spades, and though he’s purposely tried to avoid releasing any singles, it’s going to happen anyways since “Black Skinhead” has caught on.
Unlike the boisterous arrangements and orchestral flourishes that populated his last record, Yeezus goes for the stripped down, attack dog approach. West is angry at the world it seems, and though he throws out a lot of hate, he rarely threatens actual violence, which has largely been the case since the beginning of his career and has helped to separate him from his peers. Still, women don’t fare well on this record, particularly on the extremely sexual “I’m In It,” which includes lines like, “Put my fist in her like a civil rights sign,” and the cringe-worthy “Eatin’ Asian pussy, all I need was sweet and sour sauce.” The only real “redemption” (if you can call it that) for women comes on the final track “Bound 2,” which is rumored to be written about his relationship with Kim Kardashian. Elsewhere he chooses to go anti-corporate advertising with a track like “New Slaves,” slamming corporations and any famous people (especially other rappers) accepting goods in exchange for promotions and shout outs. Ironic then how closely his pal Jay-Z is working with Samsung for the release of his new album. Also unlike his last album, West keeps the guests to a minimum on Yeezus, and several tracks feature only his voice, though with a fair number of samples and “producers” working on them. Frank Ocean shows up for a few seconds on “New Slaves,” and Bon Iver’s Justin Vernon gets a couple of dramatic vocal workouts on “I Am A God,” “Hold My Liquor” and “I’m In It.” Though Kid Cudi shows up for a verse on “Guilt Trip,” the only other guests are up-and-coming Chicago rappers Chief Keef and King Louie, on “Hold My Liquor” and “Send It Up,” respectively. Everybody’s great, but West truly shines when he’s flying solo.
The divorce drama of “Blood on the Leaves” is the absolute greatest and most powerful piece on the entire album, buttressed by a Nina Simone vocal sample and a piece of TNGHT’s “R U Ready” that provide a profound mixture of sadness and venom. The acid-house squelch sample from Phuture’s 1987 classic “Acid Tracks” cut, which inspired a generation of rock bands from that era (Nine Inch Nails included) helps drive “On Sight” to an intense degree, and brings a certain synth element to this record that West has never attempted before. That sort of sound works well on a number of album tracks, but perhaps “I Am A God”‘s Blade Runner-esque haze with a Daft Punk production assist matches up best overall, somehow able to handle both a goofy eye-rolling moment like the line, “Hurry up with my damn croissants,” and the terrified, breathless screams that show up at the end. The only track that really breaks from the unified bare-bones production on this record is “Bound 2,” which smashes together The Ponderosa Twins’ “Bound” with Brenda Lee’s “Sweet Nothin’s” and Wee’s “Aeroplane (Reprise)” in a melody that sounds like t was ripped straight out of one of West’s first two albums.
Still, the generally minimalist (down to the cover art) and rock n’ roll-like approach he takes on much of Yeezus is new territory for him to explore, and something that feels informed at least in part by some of the incredible, anti-commercial anger that has earned Death Grips the right kind of attention over the last couple years. Hip hop in general could use more of this type of boundary exploration. In this particular case the strategy is likely West’s attempt to feed his own ego; to prove that no matter what he does or how much he alienates his own fans, he will still be praised as the greatest thing to ever happen in music. The worst part about it is, to some degree he’s right. Very few, if any, rap artists can claim to have such an acclaimed and lucrative career over a 10-year period. The same can be said about almost every musician outside of that genre too. You hate to give such a self-aggrandizing figure even more ammunition, but full credit where credit is due, Yeezus is another near-masterpiece.
Kanye West – Hold My Liquor (ft. Chief Keef and Justin Vernon)