That opening synth scream transforms into the decimated arpeggio of "On Site," an acid techno track at hip-hop tempo. Still Bangalter and Homem-Christo's sounds stand out amongst the crowd of contributors, shards of dance music's grittier past embedded in a high budget hip-hop fabric. Daft Punk may have had little to do with the lyrical content, but they were central to the sound of Yeezus. As with Kanye's last album, 2010's My Beautiful Dark Twisted Fantasy, the credits for Yeezus include dozens of names for each track with everyone from Glaswegian producer Hudson Mohawke to Bon Iver's Justin Vernon playing a part. Veering from boorish misogyny to politicized outrage, the album is also lyrically confounding, and often infuriating, even for West. Spare and abrasive, the album is startling in its sonic adventurousness, even for West. West, who lives part time in Paris, enlisted Daft Punk's talents, their gear, and its out of time outbursts for his new album.Īfter leaking two weeks ago, Yeezus has received near universal praise from critics and produced its fair share of controversy. Like much of Daft Punk's studio and many of their musical touchstones, it's willfully and strategically anachronistic. An analogue instrument like those used by Moroder himself in the 1970's, it's difficult to control often producing unpredictable, unique results each time it's switched on. The hulking stack of wires and knobs is a custom built modular synthesizer that Guy-Manuel de Homem-Christo and Thomas Bangalter of French duo Daft Punk used to recreate the electric disco sounds of artists like Giorgio Moroder for their recently released Random Access Memories. Kanye West's Yeezus is filled with vocal outbursts but it's most memorable scream doesn't come from the rapper's larynx. The distorted squall that opens West's latest album likely emerges from the guts of this arcane machine.
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