LR wasn't typical, yes...but it wasn't quite yet at the level it was at circa Graduation.
If "traditional hip-hop sampling and drums/bass" and "Electronic/European house-influenced production" are two sides that Kanye floats between, the needle was still leaning more towards the traditional during Late Registration, even if the split was 60/40 or 70/30 then. Once you got to Graduation, the needle was in the opposite direction - again, a 60/40 split towards the more electro/Eurohouse side of his production...and then with 808s, there was very little of the traditional. The needle had gone almost completely the other way.
What Kanye was doing with Jon Brion for Late Registration was refreshing and different than anything else at the time...but it was still able to clearly be defined as "hip hop" under the traditional sonic definition. Graduation was less so, and by the time you reached 808s, if you were a radio programmer, you didn't know what the fuck you were going to do with things like Love Lockdown. A song like Diamonds makes sense on Hot 97 (rap/urban radio); a song like Robocop? Not so much; that song would even have a little bit of trouble being on Z100 (top 40 pop), even.
As for Swizz/Timbo, the comparison is not so much the way they sound, but how they choose to create their sound. Neither of those guys would be the kind of guys you expect to be digging in the crates for the basis of their boom-baps; you'd sooner find them blowing on bizarre Middle Eastern woodwinds or an array of handclaps or messing with synth frequencies or using other disparate sounds instead.
Premier, Pete Rock and yes - the RZA - are students of the old style, which used the sampling (and the sound of the record sampled) to establish the basis of the song. That's more in-line with classic Kanye's musical MO before Jon Brion, and before Graduation and 808s.