For example, “On Sight” is both parts a jarring imitation of Afrika Bambaataa’s condensed electro beats of the ’80s and a brilliant example of the power of gospel sampling, either section starkly contrasted without traditional regard for blend or balance “I’m In It” boasts a gigantic, angry beat that could be classified as some corelary of rap metal with ear-piercing screeches to match. Its tracks are cold, abrasive and overwhelmingly artificial - attributes that a plain, metallically reflective compact disc perfectly embodies. Sonically, Yeezus differs drastically from Ye’s traditionally warm and polished sound, instead offering a chaotic array of unfiltered, digital mush.
Ironically, these characteristics (or lack thereof) brilliantly mimic the tone of the album. It’s minimalist, it’s raw and instead of augmenting an album’s innate qualities of mass-production and digitization with life and creativity as album art typically aims to do, it completely embraces the album’s CD-ness. The Yeezus “cover” is best discussed in terms of a CD and case, as the digital version is simply an image of the two: With no design aside from a small square of red sealant tape, the physical Yeezus disc is completely exposed through its clear, plastic packaging.
#A space in time album cover series
What better feature for our series about cover art than an album with no cover at all? For his sixth studio album, established hip-hop innovator Kanye West took a step toward the avant-garde, bringing the design of its cover with him.
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