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Songs
10Black Skinhead
Yeezus · Ye · 2013 (release year; edition unverified)
Driving, rock-like drums propel an angry performance in which racial tension becomes fuel for defiance rather than restraint.
Blood on the Leaves
Yeezus · Ye · 2013 (release year; edition unverified)
A looped Nina Simone vocal meets cold synthesizer horns and Auto-Tuned singing, building an unsettling collision of musical textures.
Bound 2
Yeezus · Ye · 2013 (release year; edition unverified)
Warm soul sampling and a Brenda Lee vocal fragment offer a closing contrast to the album’s colder electronic textures.
Guilt Trip
Yeezus · Ye · 2013 (release year; edition unverified)
Auto-Tuned and slowed voices create a lush, hypnotic soundscape, with a lyrical nod to Lords of the Underground.
Hold My Liquor
Yeezus · Ye · 2013 (release year; edition unverified)
Digitally altered voices, including Justin Vernon’s, give this track a dislocated atmosphere that extends the album’s sense of alienation.
I Am a God
Yeezus · Ye · 2013 (release year; edition unverified)
Declarations of divinity collide with panicked screams and hostile synthesizers, making supreme status sound anxious rather than secure.
I'm in It
Yeezus · Ye · 2013 (release year; edition unverified)
Graphic sexual boasting runs through pitch-shifted harmonies, sparse electronics and a dancehall break, keeping pleasure abrasive rather than comforting.
New Slaves
Yeezus · Ye · 2013 (release year; edition unverified)
Kanye attacks racist exploitation and the prison-industrial system, turning confrontational language into a furious challenge to supposedly modern forms of freedom.
On Sight
Yeezus · Ye · 2013 (release year; edition unverified)
Daft Punk’s abrasive electronic production accompanies an unapologetic opening performance, immediately establishing the album’s confrontational tone.
Send It Up
Yeezus · Ye · 2013 (release year; edition unverified)
A siren-like synthesizer drives this slow-burning club track, preserving the album’s abrasive atmosphere in a more dance-oriented setting.