In a summer that has seen Daft Punk‘s faltering comeback album, Random Access Memories, fizzle out and languish at the bottom of the ‘let-down’ pile, I wasn’t holding my breath as I hit play on Yeezus. From the outset, one thing was apparent, Kanye was back to the peak of his chesty egomania. And it is a short-hit filthy liquid gold mainstream-rap-heroine.
From the pulsating buzz of ‘On Sight’, the album erupts into heavy electro-beat-bass and an amalgamation of fuzzy and sharper textures, crescendoing into one of the biggest sounds Mr West has ever laid down. The album is just under 40-minutes of Summer angry anthems. On first listen, I couldn’t quite piece together what on earth was going on, think MBDTF on acid. Then I went on a walk in the sun, the long way round, and I was stunned.
The Death Grips tropic-stomp of ‘Black Skinhead’ bounces into the outrageous ‘I Am A God’ displaying now trademark mind-boggling arrogance and disgusting lyricism; but that’s just Kanye, and if you can’t embrace that, don’t bother pressing play.
‘New Slaves’ rolls wretched rhymes over deep and heavy amplified bass, with a profanity count of approximately 7621; NSFW.
‘I’m In It’ takes Kanye’s boundaries, pushes them to pornographic extremes, smashes them to pieces and then scatters their ashes over the auto-tuned soggy fanfare of ‘Blood On The Leaves’. Only Kanye can sample Nina Simone‘s beautiful ‘Strange Fruit’ and whine about an ex-girlfriend at the basketball.
Self-fellatio lyricism, industrial sized aggression, and intense humour come together as a battering ram, and back, rough and ready, Kanye gives his best album since Graduation.
…Adam has been listening to The Darkness – Permission To Land…