Yeezus Walks Keepin' up with Kanye

Kanye West famously proclaimed to be the Steve Jobs of the hip-hop world, followed by his declaration of being the biggest rock star, putting him in the same level as that of Micheal Jackson. The statements were met with more than a few raised eye-brows. The attention-seeking, arrogant and egoistic Kanye West's words were written off as the ramblings of a mad man. If “Yeezus” is anything to judge by, Kanye West is as crazy as Galileo and as misunderstood as Vincent Van Gogh. Kanye West is the greatest artist of the decade and “Yeezus” is testament to that very talent.
Following up “My Dark and Twisted Fantasy”, Kanye West picks up from where he left off. Each track is different from its predecessor in style, delivery and production. Forget the lyrics; it's the production that makes “Yeezus” stand out. Chaotic in use of instruments, served with an overdose of unminced words, this is Kanye West at his controversial best. From the get go, it's obvious that the chains of a single genre aren't strong enough to hold Big K down. “Yeezus” isn't a hip-hop album; it's an entirely different genre.

Even with the album's weaknesses, Kanye West links every track seamlessly.

Detractors are quick to point at the amateur and rushed through singles such as “Bound 2”, but one song doesn't make an entire album. Pouring through the entire discography of legends such as 2pac, Biggie and even Eminem, you'll be hard found not to spot a below average single every now and then. The second track, “Black Skinhead”, samples Marilyn Manson, and Kanye becomes the only rapper to bring the deranged, couldn't-care-less Manson feel to his track. He even seeks forgiveness for what is about to come, rapping “my leather black jeans on, me by any means on, pardon I'm getting my scream on.” Indeed, he does get his scream on, embellishing the hardest hitting beats with pure, undiluted braggadocio.  
Listeners need to know from the start, that “Yeezus” demands an acquired taste. Three replays and you are bound to get hooked. However, even for that, the audience needs to keep an open mind. Think Sebastian Bach performing live in Israel. To appreciate the music, one needs to separate the man from the music. Kanye West offers no further apology, wading full on in a tidal wave of misogynistic, uncensored lyrics, superimposed by the constant drone of horns, piano, bass, drums, electronica, dubstep and what have you. “Blood on the Leaves” is evidence of this musically erratic behaviour, but it works. It's bold and that's why it leaves such an indelible mark. As for the sexist content, such as the one on “New Slaves”, it's as acceptable as Eminem on Rap God, rapping about kids from Columbia tech.
Unlike previous albums, Kanye hasn't relied solely on guest artists. Even then, his guest list reads like the who's who of the music industry. Despite the strength of “Yeezus”, it still leaves a little something to desire. But that's Kanye; he promises greatness, delivers greatness yet leaves us begging for more. Kanye West, as a rapper, producer and just a certified genius is indeed the greatest rapper of the decade. “Yeezus” has sent many messages but one remains most poignant; Drake, Lamar, 2 Chainz and the rest, you lot have to wait for it. The only rap god in the building is Kanye and he didn't need a gimmick.