It’s his shortest album to date and was billed as a bridge between Indicud and a possible Man on the Moon III. Still, Cudi’s last album Satellite Flight: The Journey to Mother Moon showed more promise. Take his lyrics from “Just What I Am”: “Let me tell you ‘bout my month y’all, endless shopping, I had a ball, I had to ball for therapy, my shrink don’t think that helps at all, whatever, that man ain’t wearing these leather pants.” It’s the ultimate sad brag, alternating between “I’m so sensitive” and “I’m so cool and wealthy.”
NEW KID CUDI ALBUM REVIEW SERIES
The album was panned because it proved that Cudi truly had nothing left to say after the Man on the Moon series - he actually got worse. His next solo album Indicud saw Cudi return to the hip-hop world, and the new production was unique but forgettable. He tried his hand at an alternative rock/psychedelic band called WZRD with producer Dot da Genius, but the debut was met with largely negative reviews. Rager, which was mostly an extension on the first, Cudi began to move in different directions.
After his second album Man on the Moon II: The Legend of Mr. This would explain why Cudi found his greatest success in the high school party scene, becoming practically synonymous with it after the teen film “Project X” propelled “Pursuit of Happiness” to anthem status.īut the constant mix of self-aggrandizing, screams of “I’m different!” and adolescent confessionals could only go so far. His most popular tracks, like “Soundtrack 2 My Life” and “Day n’ Night,” are simply enjoyable songs, no more and no less. He skyrocketed to popularly on the sheer listenability of his music and the hordes of faux-philosophical “nice guys” who hailed him as their leader, relating to his irksome “nice guy” complaints (“maybe if I was a jerk to girls, instead of being nice and speaking kind words”). It was far from perfect, but there was enough catchy production to counteract Cudi’s lack of lyrical prowess. His debut release Man on the Moon: The End of Day blended R&B, hip hop and rock to a moderately interesting effect. Sometimes the result is much less successful. Each change highlighted a diverse skillset and rebelled against the idea of what typical “rock” should be. Radiohead did this to a hugely successful effect, shifting from guitar driven rock to experimental electronic to their dark and seductive release In Rainbows. It’s seen as a validation of an artist’s skill if they can be effective beyond the formula they’re usually known for. While it might take a few listens to make sense of the album's seemingly muddled introduction, one thing is clear: by the end of this hour-long journey, Cudi has reached his destination.Because of the strange confinements the concept of genres lead to, the phrase “genre blurring” has gained a largely positive connotation. Late highlights comes in the form of the unexpected and introspective Phoebe Bridgers collaboration “Lovin’ Me”, in which the song’s protagonists tread a path of self-discovery, and the equally invigorating “The Pale Moonlight”, which utilises sparkling arpeggios and hushed delivery at times to make for effortlessly gripping results. “Elsie’s Baby Boy (flashback)” sees him tackle an unconventional 6/8 time signature atop marching drums and glacial synth pads. By Act 3, ‘Heart of Rose Gold’, he’s in his element.
Pop Smoke and Skepta), he tries his hand at drill, deftly weaving in and out of pizzicato violin passages. On “Heaven on Earth”, the Cleveland singer, rapper and producer glides with ease over twinkling music box melodies, and on the electrifying “Show Out” (feat. Things get progressively better with Act 2, where he begins to take more risks and sounds more self-assured. Largely zeroing in on current rap trends, this run of songs lacks individuality, with “She Knows This” sounding as though it could have been written for Travis Scott or Lil Uzi Vert. The heavy-handed opening chapter "Return 2 Madness" – formed of the first five tracks – lives up to its name. Segmented into four ‘acts’ demarcated by short bursts of noise, the album tells a story and increasingly rewards listeners for their patience, with Cudi “fighting to win back his soul” and gradually finding his stride over the course of the project. As its liner notes explain, Scott Mescudi is continually plagued by dark thoughts, which manifest themselves in the form of his imaginary nemesis, Mr. In essence, The Chosen is a concept album, picking up where its two predecessors left off.
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