Kanye West sat down with NY Times and gave his first interview in several years. In the interview, Kanye West talks about everything from fatherhood, to his new album Yeezus, and even his stage crashing of Taylor Swift, which he doesn’t regret.
What thoughts do you have about parenthood?
That is a really interesting, powerful question. One of the things was just to be protective, that I would do anything to protect my child or my child’s mother. As simple as that.
Have you ever felt as fiercely protective over anything as you are feeling now about those things?
I don’t want to explain too much into what my thoughts on, you know, fatherhood are, because I’ve not fully developed those thoughts yet. I don’t have a kid yet.
You haven’t experienced it yet.
Yeah. Well, I just don’t want to talk to America about my family. Like, this is my baby. This isn’t America’s baby.
One of the things I thought when I heard the new record was, “This is the anti-‘College Dropout.’ ” It feels like you’re shedding skin. Back then, you were like: “I want more sounds. I want more complicated raps. I want all the things.” At what point did that change?
Architecture — you know, this one Corbusier lamp was like, my greatest inspiration. I lived in Paris in this loft space and recorded in my living room, and it just had the worst acoustics possible, but also the songs had to be super simple, because if you turned up some complicated sound and a track with too much bass, it’s not going to work in that space. This is earlier this year. I would go to museums and just like, the Louvre would have a furniture exhibit, and I visited it like, five times, even privately. And I would go see actual Corbusier homes in real life and just talk about, you know, why did they design it? They did like, the biggest glass panes that had ever been done. Like I say, I’m a minimalist in a rapper’s body. It’s cool to bring all those vibes and then eventually come back to Rick [Rubin], because I would always think about Def Jam.
His records did used to say “reduced by Rick Rubin.”
For him, it’s really just inside of him. I’m still just a kid learning about minimalism, and he’s a master of it. It’s just really such a blessing, to be able to work with him. I want to say that after working with Rick, it humbled me to realize why I hadn’t — even though I produced “Watch the Throne”; even though I produced “Dark Fantasy” — why I hadn’t won Album of the Year yet.
This album is moments that I haven’t done before, like just my voice and drums. What people call a rant — but put it next to just a drumbeat, and it cuts to the level of, like, Run-D.M.C. or KRS-One. The last record I can remember — and I’m going to name records that you’ll think are cheesy — but like, J-Kwon, “Tipsy.” People would think that’s like a lower-quality, less intellectual form of hip-hop, but that’s always my No. 1. There’s no opera sounds on this new album, you know what I mean? It’s just like, super low-bit. I’m still, like, slightly a snob, but I completely removed my snob heaven songs; I just removed them altogether.
On this album, the way that it emphasizes bass and texture, you’re privileging the body, and that’s not snobby.
Yeah, it’s like trap and drill and house. I knew that I wanted to have a deep Chicago influence on this album, and I would listen to like, old Chicago house. I think that even “Black Skinhead” could border on house, “On Sight” sounds like acid house, and then “I Am a God” obviously sounds, like, super house.
Yeah, visceral, tribal. I’m just trying to cut away all the — you know, it’s even like what we talk about with clothing and fashion, that sometimes all that gets in the way. You even see the way I dress now is so super straight.
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