![]() 2016 saw Yeezy fashion endeavors dovetail with the launch of The Life of Pablo and one-sided beef with Wiz Khalifa. Half of the vocals for Yeezus were recorded in two hours while West waited for a plane to Milan. Fridays - when Ye dropped a new song each week, and the pressure it created seemed apparent in little mistakes in songs like “So Appalled” - he’s been recording under tight deadlines, making music while he tends to other business. For West, this process is the difference between a promising mess and a poignant message.īut since 2010’s G.O.O.D. If you’ve heard the unfinished demo versions of tracks like Yeezus’s “Black Skinhead” or Jesus Is King’s “Everything We Need,” you know these songs benefit greatly from the extra editing and refinement. If you’ve been following West’s career awhile, you know he writes raps rhythm-first, working out an attack for the beat before he figures out what the verses will say. As the sun slips behind the azure mountaintops outside Cody, the multi-hyphenate mogul sits next to the mic and freestyles, “You were brought to an inside joke / While my mouth pops back and my insides spoke …” The rap continues a few more measures without any identifiable words. In a corner, behind two Can-Am ATVs, a band works out feels in front of a projector screening Akira Kurosawa’s classic 1957 samurai flick Throne of Blood. ![]() Later, West is looking at mock-ups of sweaters, shorts, and shackets and inviting Rick Rubin to visit the ranch over steaks. ![]() One minute, Ye is listening to beats from 88-Keys and taking a call from Common while Justin Bieber and Dame Dash have a private chat. and Chike Ozah’s Netflix docuseries Jeen-Yuhs: A Kanye Trilogy offers a rare peek at the artist’s Wyoming workspace operating at full steam. The last hour of longtime Ye insiders Clarence “Coodie” Simmons Jr.
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