Ye Tells Akademiks He Believes He'll 'Do an Album' With Drake 'Before It's All Said and Done'

The artist formerly known as Kanye West sounds relatively convinced that he and Drake will one day do an album together. The latest remarks come following extensive Drake-focused commentary from Ye as of late, including his assertion (while wearing a swastika chain and KKK-style attire) that the “Nokia” artist is “a million times better than” Kendrick Lamar.

“You know, I sent ‘Preacher Man’ off Bully, the intro, to Drake first,” Ye said while manning an ASR-10 on a stream with Akademiks Wednesday night.

Asked to reveal what happened when he sent Drake the track, recently heard in an unfinished version of the album released alongside a short film starring Saint West (who is also featured on the cover art), Ye seemingly suggested that his previous Free Larry Hoover Benefit co-headliner was somewhat dismissive.

“He said something like, ‘Oh man, don’t mean to, like, spoil your dreams’ or some shit,” Ye, who co-wrote and produced “Find Your Love” off Drake’s 2010 studio debut Thank Me Later, added. “I don’t know. He just did his thing and shit. I think before it’s all said and done, like, I’ll do an album on him.”

Ye and Drake’s extensive history together has taken fans of both artists down a long and winding road over the years, with the two’s oft-intersecting journeys resulting in everything from high-profile collaborations to the use of an apparent Kim Kardashian lookalike. Last year, Ye, at least temporarily, very much appeared to take Kendrick’s side in the 2024-dominating feud against Drake, though more recent remarks have seen him enthusiastically flip that stance.

As for that aforementioned KKK-style attire, some have been quick to note that Ye has used such imagery in his work in the past, most notably in the video for his universally acclaimed 2013 Yeezus hit “Black Skinhead.” The key difference, of course, lies in the intention and execution.

Whereas “Black Skinhead” was an exciting and subversive work worthy of a peel-back-the-layers dissection, Ye’s latter era has been largely defined by a far messier and often convoluted approach. As a result, the critical consensus has turned toward assessments of much of Ye’s post-Donda output as being entrenched in mere shock value without clear artistic intent.