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KIDS SEE GHOSTS - KIDS SEE GHOSTS (2018)

KIDS SEE GHOSTS - KIDS SEE GHOSTS
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2018 will probably go down as Kanye’s nadir, the pivotal year when a majority of music critics and publications turned on him. Personally, I think it’s more complicated than that, and frustrating how political some of those publications could be. Kanye has always been reactionary and no doubt his support for Trump falls into the same category, but even if that wasn’t the case, it’s not like people with terrible political views can’t create great music. Regardless, after Kanye’s controversial actions, the arrival of the negative reviews for ye seemed inevitable, that album does have its flaws, but it is certainly underrated. Released just a month later on Kanye’s birthday, KIDS SEE GHOSTS seemed like Kanye’s aim at recouping those losses, the ace he had up his sleeve just in case ye bombed. In reality that’s exactly what KSG is, an ace. Both albums have their similarities, both running just after the 23 minutes mark and both feature a similar cast of features (seemingly whoever was hanging around the ranch in Wyoming that day). The albums are different though, providing a dichotomy of Kanye’s experimentalism; his more personal and frustrating elements guiding ye, while the audience-friendly and poppy side can be heard on KSG.
Kid Cudi and Kanye had had their ups and downs in the years leading up to KSG with Cudi notably accusing West of ghostwriting. Upon reconciliation, the two decided to collaborate again, and eventually, the project grew into a full-length album. The result is a stellar, unified piece of work, one that lets Cudi sing the way Kanye can’t and lets West craft soundscapes and lend his unique vision the way he does best. Opener, “Feel the Love,” is the kind of kaleidoscopic combination of samples and vocals that has defined Kanye’s career post My Beautiful Dark Twisted Fantasy and perfectly lets Pusha T’s verse anchor the song while Kanye and Cudi freak out. “Fire” follows nicely with a simple march and less bombastic vibe, but just as catchy. These moments are what elevate this album above ye. Where that album is an excellent artistic statement from Kanye, KSG has the songs to back it up, and each can stand on their own “4th Dimension” for example, begins with a straightforward Louis Prima sample before subverting it into a reoccurring part of the beat, while the snickering used on this track just elevates it to be even more fun. “Freeee” is similarly playful with Kanye’s tongue in cheek chorus, held for a little too long, and best exemplified in the title.
Maybe the best song on the album; “Reborn” feels like a combination of the best of ye and KSG. It’s a laid back and ruminative track, where both artists reflect on their past issues with each other but also, celebrate their collaborations. It’s a triumphant song and it revolves around the themes that bind these two albums and this hectic time for West pretty gracefully. KSG is yet another great release from Kanye and in it’s brief run time it manages to breathe new life into an artist who a month prior, many had written off. It’s also Kanye’s best collaborative album thus far.
~9.0
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