Everyone professionally involved with the creation of
Kanye
West's sixth solo effort was sworn to secrecy, and with no preorders allowed,
plus the news that producer Rick Rubin was still tinkering with tracks seven
days prior to the drop, this instant, no-singles, anti-hype album got
pre-release hyped on an Olympic scale. Think of the roll-up as a revolutionary
blow against the empire or the supernova ego of West in full effect, and while
it's probably a little of both, Yeezus the album is a lot of both, with good
taste and bad taste both turned up to 11. This agro-industrial earthquake with
booming bass and minimal synths balances ground-breaking hip-hop lyrics
("New Slaves" is a bizarre, layered concept clash where high fashion,
slavery, and "I'd rather be a dick than a swallower" all collide)
with punkish, irresponsible blast-femy (during the draggy, trap track "I'm
in It," West's melodious and melancholy voice shouts its dreams to the
multitude, pleading "Your titties, let 'em out, free at last/Thank God
almighty, they free at last" as if civil rights and booty calls were
equally noble quests), and it all works in an astonishing, compelling manner.
It's as if West spent the last year listening exclusively to Death Grips and
Chief Keef and all the political, social, and musical contradictions became his
muse, inspiring moments like the Keef and Bon Iver meet-up that fuels the
mile-high hangover number "Hold My Liquor.
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