Kanye’s fifth album, 2010’s sprawling and joyous ‘My Beautiful Dark Twisted Fantasy’, was all like: “It’s 2am, I’m pissed on the dancefloor, I’m a fuck-up, but whatever, love you!!!” ‘Yeezus’, its follow-up, sets its clock closer to 4am. “Still on the dancefloor but I’ve taken too much,” it growls. “My emotional core is warping. You can talk to me, sure. But you won’t enjoy the conversation.” More than anything else he’s done, ‘Yeezus’ puts you eyeball-to-eyeball with Kanye’s fragile superstar persona in all its slightly distasteful glory. ‘I Am A God’ is already well on its way to becoming his anthem, with the 36-year-old both piss-taking and stating a 21st century truth. “Hurry up with my damn croissants”, he demands. He’s joking. He’s not joking. No-one really knows.

Recently, Kanye has started talking down ‘…Dark Fantasy’ as “a half-assed apology”. A get-out card, as with 2011’s ‘Watch The Throne’ with Jay-Z, to make nice and re-establish himself after the sad Auto-Tune weirdness of 2008’s ‘808s & Heartbreak’ took him south of the mainstream. It seems like, in a perfect world, ‘Yeezus’ is the record he would’ve made in 2010. “I realised [on ‘808s…’],” he said, “that I am a black new wave artist.” He’s right. ‘Yeezus’ is all metal-on-metal, S&M drums, synths set to perv. Like Nine Inch Nails. Or early acid house. Or ‘Being Boiled’-era Human League, depending on which musical tribe you’re coming at it from.