In the studio, Rubin walked in one day. Kanye had sixteen layers of synth on I Am a God . Rubin listened. He said nothing. He just started pulling faders down. One by one. Until only a single, distorted 808 and Kanye’s raw, untreated voice remained.

They worked like looters in a cathedral. They took a sample of a Chicago house track, “I Need to Know,” sped it up until it sounded like a panic attack, and called it On Sight . The first words you hear: “Yeezy season approachin’…” —not a boast, a warning. Then the drop: a bass so brutal it felt like a car crash in slow motion.

The night it leaked, he was on a rooftop in SoHo. He listened on cheap earbuds. Bound 2 , the final track, played—a warped soul sample, a piano that sounded like it was drowning, a hook about being one good girl away from a real life. He laughed. He had spent the whole album destroying himself, and in the last three minutes, he tried to put the pieces back together with a chorus that belonged on a 1970s jukebox.