10 Songs, 40 Minutes

EDITORS’ NOTES

“Yeezy season approaching”, warns Kanye West over the buzzsaw synth and jittery beats of “On Sight”. It's an apt opening statement for Yeezus, West’s sixth studio album. By the time he reaches the third track, “I Am a God”, it’s clear we’re dealing with a deity of the vengeful, gnashing-of-teeth variety. Run though with elements of ’80s acid house, Chicago drill music, and ‘90s industrial, the album features guest spots by Chief Keef, Frank Ocean, and Daft Punk, jump-cut samples of Hungarian progressive rock and obscure gospel recordings, and production by Rick Rubin and RZA. And while obsessive reinvention has long been West’s hallmark, from the climate-controlled futurism of 808s & Heartbreak to the meticulous perfectionism of My Beautiful Dark Twisted Fantasy, tunes like “I’m in It”, “Blood on the Leaves” and “New Slaves” have the edge of an artist who's content to challenge all expectations.

EDITORS’ NOTES

“Yeezy season approaching”, warns Kanye West over the buzzsaw synth and jittery beats of “On Sight”. It's an apt opening statement for Yeezus, West’s sixth studio album. By the time he reaches the third track, “I Am a God”, it’s clear we’re dealing with a deity of the vengeful, gnashing-of-teeth variety. Run though with elements of ’80s acid house, Chicago drill music, and ‘90s industrial, the album features guest spots by Chief Keef, Frank Ocean, and Daft Punk, jump-cut samples of Hungarian progressive rock and obscure gospel recordings, and production by Rick Rubin and RZA. And while obsessive reinvention has long been West’s hallmark, from the climate-controlled futurism of 808s & Heartbreak to the meticulous perfectionism of My Beautiful Dark Twisted Fantasy, tunes like “I’m in It”, “Blood on the Leaves” and “New Slaves” have the edge of an artist who's content to challenge all expectations.

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