“Feel the love” here reads more like a desperate self-reminder than milquetoast, everyday self-affirmation. The album’s central concept is delivered in Cudi’s first line on KSG: “I can still feel the love.” Despite his unstable relationship with Kanye, despite the drugs and the depression and the fame and the bullshit of it all, there’s still optimism-there’s still a point to living, loving, and creating art that can be recepted by an adoring fanbase. Hopin’ it’ll help you find your own peace” ‘Til your niece get shot in the dome-piece The song’s chilling verse details the desperate cycle of violence resulting from a loved one’s murder: Conversely, Kanye makes a much-needed return to the everyman”conscious” rap we all fell in love with on “ Cudi Montage” ( or is it “Devil’s Watchin?“).
He knows he can’t please everyone-though it seems he’s been going out of his way to displease everyone as of late. To everything that sucks to you and that’s never enough.” “Paid this shit just gon’ give up, ’cause Ye just gon’ live up He uses the album’s title track, which features a welcome visit from Yasiin Bey (aka Mos Def), to further elaborate on his post-TMZ state of mind with some self-aware lines: Kids See Ghosts also sees Kanye in top lyrical form. 2), the album’s gran crescendo, blesses us with some of Kanye’s best singing in years bolstered by Cudi’s beautiful harmonization over a driving prog-rock instrumental. “ 4th Dimension” is a fun brag-rap track that highlights the trappings of glamour over a nasty, club-ready banger of a beat. It is in these moments that the album feels like a true rekindling of a creative streak for the two. Nevertheless, there are many moments where Kanye and Cudi’s chemistry is undeniable and infectious.
CUDI MONTAGE INSTRUMENTAL FULL
Cudi’s penchant for over-using a phrase or melody is stretched to its absolute max on the melodically pleasant yet entirely overlong “ Reborn.” Kanye’s let’s-see-if-I-can-get-away-with-this-experimentation-for-experimentation’s-sake philosophy is in full effect with his ridiculous gunfire adlibs on opener “ Feel the Love.” These hilariously bad yet energetic braps and kaacks begin by drowning out the final bars of Pusha T’s typically cooled-out opening verse, continue into an almost-unrecognizable tempo, and end with confounding auto-tuned “woo-woo’s.” It’s trying to be discordant, but it just comes off as grating. However, by reaching back to some of these sonic habits, the album suffers from their shortcomings almost as much as it benefits from their innovations. The usual suspects are here as well as some eyebrow-raisers- Mike Dean, Dot Da Genius, Cudi collaborator Plain Pat, and Jeff Bhasker all lend their hands to the supernatural production on Ghosts in addition to a wild André 3000 credit and a Kurt Cobain sample, Cudi’s most direct homage to the late grunge idol yet. It’s a welcome return (and noted improvement) of Kanye’s aggressively discordant Yeezus-style wokeness, as well as a continuation of Cudi’s guitar-dominant direction he’s showcased on records such as WZRD and Speeding Bullet to Heaven. Music’s Kanye-produced, five-part summer release schedule-dives further into the duo’s shared trauma and volatility with a refined soundscape of industrial production, grungey aesthetic, and Cudi’s signature moan-croon. Kids See Ghosts-the third album in G.O.O.D. Their reconciliation was no doubt in part due to each artist’s struggle with mental health Kanye’s bipolar disorder and Cudi’s suicidal depression seemed to be a point of bonding and understanding between the two hip-hop superstars. Regardless of who subtweeted whom, and who stole vocals from the other, the pair made up in endearing fashion during Kanye’s equally tumultuous “Pablo” tour. To say Kanye West and Kid Cudi have had a tumultuous relationship is an understatement. Takashi Murakami’s psychedelic cover for Kids See Ghosts.
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