His new album incorporated experimental electronic beats, which he produced with others under the moniker “Larry Fisherman”, and lyrical structure and content far more advanced than that of his earlier albums.

Flying Lotus and Odd Future, among others, helped advance Mac’s music far beyond anything he had ever done. Odd Future’s rappers Earl Sweatshirt (who goes by “randomblackdude” when producing) and Tyler, the Creator have both released incredible albums recently Doris and Wolf, respectively. After BSP, Mac Miller made some new friends mainly, producers like the left-field LA-based Flying Lotus and trillwave pioneer Clams Casino, as well the controversial skateboarding California rap and production collective Odd Future. However, with the release of Watching Movies With the Sound Off, Mac charted new territory for himself and the industry as a whole. Mention Mac Miller’s name two years ago, and nearly everyone would probably think of the shaggy-dog, weak-sauce frat rap album Blue Slide Park and bubblegum, house-party singles like “ Donald Trump” or even perhaps the dustier suburban anthem “Nikes on My Feet” (it’s so mediocre I don’t even want to link you to it). This aspect of Yeezus is epitomic of recent hip-hop releases: the incorporation of more experimental, adventurous aspects of everything from ambient IDM to neo-jazz into modern rap music.Įarl Sweatshirt (left) and Mac Miller (right) Somehow, thanks to Kanye, the introduction of elements of dancehall didn’t seem out of place. The difference is, however, Kanye processed these underground, cult sounds into something that the public can consume, without losing the originality of the sub-genre. The influence from the late LA-based noise-punk-meets-rap trio Death Grips is undeniable – the industrial, animalistic beats and guttural ad-libs clearly pay homage to the aggressive dissonance of Death Grips frontman and vocalist MC Ride, producer Flatlander, and drummer Zach Hill.

The kind of instrumentals introduced to the masses on Yeezus are absolutely nothing like the pink polo-wearing, backpack-donning Kanye of the early 2000’s, and are a long shot from even his last grandiose masterpiece, the ostentatious My Beautiful Dark Twisted Fantasy.

Kanye comes in full force, spitting “Yeezy season approachin’” over Daft Punk’s violent, acid-drenched buzzsaw instrumental – almost a warning, or perhaps a welcome, for the times to come. One of the clearest examples of this progression, however trite, is Kanye West’s abrasive, controversial Yeezus. DEATH GRIPS - From left: Zach Hill, MC Ride, Flatlander

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