When Yeezus dropped, audiences could tell that Kanye’s ego had been tangible to the human touch and eye. He proved that he could talk sh!t and be rewarded for it. In a way– through the public annoyance of him spewing whatever came off the top of his mind (regardless of who it impacted), it became admirable to a degree. On the third track, “I Am A God”– which rumbles in a flashy techno driven beat that clashes against thundering drums and the ragga calling of dancehall artist Capleton– he boasts his new moniker Yeezus . It’s not quite like Jesus, but the next best thing. A featured credit of the supernatural, religious figure, God, gives the co-sign. “I just spoke to Jesus, he said ‘What up Yeezus?’” working as a double-entendre. Yeezus is who was up on the chain of command, and there’s nothing stopping him.

Kanye’s power in hip hop– and furthermore in the avenues of mainstream pop and the new guard of rockstars– had been undeniable. His GOOD Music posse dropped a compilation that featured generational defining hits such as “Clique” and “Mercy” just a year prior. And before that, he partnered with arguably the greatest rapper alive to tell the new crop of hip hop stars to Watch The Throne . Through all the clashing noise of industrial music– which had paralleled the intention of the art pop founded on 808s & Heartbreak – Kanye’s ego had been justifiable. He could make just about anything bizarre sound catchy, while those sounds remained engulfed in a conceptual world that outsiders wanted to be a part of, even when they heavily criticized it.

At just ten tracks, Yeezus not only furthered the emo, underground agenda of rap taking over the mainstream (as evident by the production credits of Travis Scott), but also showcased that Kanye’s ego could be the main source of selling records. The album debuted at No. 1 on the Billboard 200, marking his sixth to do so.

But what the album and era also signaled is that Kanye West started to become more mysterious, and a bit private with his art. Although the production and lyricism is quite boastful and aggressive, the promotion itself contained an element of mystique and absurdity. First and foremost, the cover art is simply of a blank disc inside a blank jewel case. Secondly, throughout the corresponding tour for the album, Kanye decided to wear various masks to cover up his appearance. Critics noted how the limited promotion made audiences start to care more about those who wanted to be visible in the spotlight– such as same week competitor J. Cole, and Born Sinner , which surpassed Yeezus for the top spot on the Billboard 200 three weeks after their releases.

The album itself works in two parts: the ego of Kanye aka Yeezus haunting him throughout, and the highly public details of his intimate relationship with his soon-to-be fiancée, Kim Kardashian. Yeezus starts with a warbling, electric echo that signals electroclash in the futuristic, sharpshooter fashion of contributors, Daft Punk. As his first words, Kanye militantly declares, “Yeezy season approachin'/F*ck whatever y'all been hearin'/F*ck what, f*ck whatever y'all been wearin'/A monster about to come alive again.” In this nod to his embrace of being a fashion mogul and the stellar track “Monster” from My Beautiful Dark Twisted Fantasy , audiences would receive a taste of what Kanye West– now known as Ye– would ultimately become. That moment highlights one of hubris. But by the first verses end, we get a taste of the Kardashian influence on his life at the time: “And I know she like chocolate men/She got more n!ggas off than Cochran.”