Kanye West: The Making of Yeezus | Extended Version

Expanded and better than before

Equipment used to produce the music for this video:

Akai Professional MPD218 Pad Controller: http://go.magik.ly/ml/9v3x/

Akai Professional MPK Mini Mk2: http://go.magik.ly/ml/9v3z/

Beats Solo Wireless Headphones: http://go.magik.ly/ml/9v40/

Speakers: http://go.magik.ly/ml/9v41/

If you want to be able to use Soundcloud on your phone in the background: http://go.magik.ly/ml/9v45/

Voiceover recorded with Blue Yeti Stereo Microphone: http://go.magik.ly/ml/9v48/

This is the extended version of my Documentary on “The Making of Yeezus.” This new version delves into the influence Gelsaffelstein and the contributions that other producers like, Travis Scott, Hudson Mohawke and Arca brought to the table.

This version also looks at Yeezus as a multimedia experience and not simply as a music album.

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Summary of Yeezus from Wikipedia

Yeezus is the sixth studio album by American rapper Kanye West. It was released on June 18, 2013, by Def Jam Recordings.[1] West gathered a number of artists and close collaborators for production on the album, including Mike Dean, Daft Punk, Noah Goldstein, Hudson Mohawke, Arca, and Travis Scott. Yeezus also features guest vocals from Justin Vernon, Chief Keef, Kid Cudi, Assassin, King L, Charlie Wilson and Frank Ocean. Fifteen days before its release date, West enlisted the help of producer Rick Rubin to strip down the record’s sound in favor of a more minimalist approach.

Yeezus has been characterized as West’s most experimental and sonically abrasive work. It draws from an array of genres, including industrial, acid house, electro, dancehall, punk, and Chicago drill. It also continues West’s unconventional use of samples, as on “Blood on the Leaves,” which prominently interpolates Nina Simone’s 1965 rendition of “Strange Fruit”. The release features no album artwork, and the physical CD edition of the album was released in a clear jewel box with only a strip of red tape and sample credits. Initial promotion of Yeezus included worldwide video projections of the album’s music and live television performances. West released two singles from the album, the song “Black Skinhead” in July 2013 and “Bound 2” the following month.

Yeezus received widespread acclaim from critics, many of whom named it among West’s best work and commended its brash direction, though public response proved considerably more divided. The album debuted at number one on the Billboard 200, selling 327,000 copies in its first week of release. It topped the charts of 30 other countries, including the United Kingdom and Australia. Yeezus was nominated in two categories at the 2014 Grammy Awards, including Best Rap Album. As of 2016, the album has sold 750,000 copies in the United States.[2]

Background:

Following the release of his fifth album, My Beautiful Dark Twisted Fantasy (2010), West collaborated with longtime friend Jay Z on Watch the Throne (2011).[4] In July 2012, producer No I.D. revealed that he had been working on West’s sixth solo studio album (and seventh overall) and that it would be released after Cruel Summer (2012), a collaborative compilation album between members of West’s record label GOOD Music.[5] For Yeezus, West enlisted several collaborators, including Kid Cudi, Charlie Wilson, S1, The Heatmakerz, Mike Dean, Hudson Mohawke, Skrillex, Young Chop, Chief Keef, Frank Ocean, Odd Future, Travis Scott, The-Dream, Cyhi the Prynce, Malik Yusef, King L, John Legend, James Blake, RZA, Mase and Pusha T. The album features additional vocals by Justin Vernon, Frank Ocean, Kid Cudi, Chief Keef, King L, Assassin and Charlie Wilson.[6]

West was influenced primarily by minimalist design and architecture during the production of Yeezus, and visited a furniture exhibit in the Louvre five times.[3] A single Le Corbusier lamp was his “greatest inspiration”.[3] West worked closely with the architect Oana Stanescu, and took “field trips” to Le Corbusier homes. Fascinated by Stanescu’s comments on the unusual and radical nature of Corbusier design choices, West applied the situation to his own life, feeling that “visionaries can be misunderstood by their unenlightened peers.”[7] West also met with architect Joseph Dirand and Belgian interior designer Axel Vervoordt, and had “rare Le Corbusier lamps, Pierre Jeanneret chairs and obscure body-art journals from Switzerland” delivered to the loft.[7] West also wanted a deep hometown influence on the album, and listened to 1980s house music most associated with his home city of Chicago for influence.[3] Alejandro Jodorowsky’s The Holy Mountain was also an inspiration for the album.[8][9]