The most (self) acclaimed rapper is back, and the ego is bigger than ever.

Three years after the critically acclaimed album, “My Beautiful Dark Twisted Fantasy,” Kanye West effectively follows suit with the musically diverse album “Yeezus.”

With producers including the French electronic duo Daft Punk and musical talents such as Bon Iver’s Justin Vernon and—get this —“God,” West’s new album has the multiplicity of Neapolitan ice cream while maintaining West’s unique take on hip-hop.

Daft Punk’s influence is immediately heard in track one, “On Sight,” with unique synth parts suggesting a European dance club.

West’s narcissism is also immediately detected, with lines like, “Yeezy season approaching/f*** whatever y’all been hearing,” suggesting that his music is the only one worthy of being heard.

As fans have come to expect from Yeezy, the rapping is strong, clever and occasionally hysterical.

One of these hysterical songs is the sacrilegious, “I Am A God,” which is laughably arrogant, listing “God” as a contributing artist and featuring lines like “I am a god/hurry up with my damn massage,” really embellishing the ego the world loves to hate.

Despite hilarity, the production and verses are solid. They feature an industrial flow, and at times break into a terrifyingly shrill yell followed by panting. Perhaps this is a representation of how vulnerable West really is, despite his façade of arrogance.

The entire album showcases strong rapping and unique production, from the dirty hip-hop jam “I’m In It” to the eccentrically psychedelic “Guilt Trip,” but some songs certainly stand out.

The first of these is “Hold My Liquor,” featuring indie star Justin Vernon and rapper Chief Keef. At its core, the song is a dejected anthem about the drug and alcohol scene. Its execution, however, gives credit to the talent of the production team, as it consistently builds from a steady beat into a distinct guitar showcase.

Vernon’s airy vocals also lend well to the emotional turmoil, even when the song builds up and boils over into rhythmic flurries of synth and distorted guitar.

After a brief return to the megalomaniacal in “Send It Up,” West ends the album with the most unique track, “Bound 2,” which features Ponderosa Twins Plus One’s 1971 track, “Bound,” playing throughout.

The 70’s rock groove supports West’s rap well, but could’ve been made less repetitive. Overall, the track wraps up the album in a package worthy of the most ambivalent music fan in the world.

“Yeezus” may not be what the world wanted from the self-proclaimed “god of hip-hop,” but as Yeezy himself says, “he’ll give us what we need/it may not be what we want.”