What a Time to be Alive. Like the titled release of Drake and Future’s collaborative project, what the fuck is happening to hip-hop? With Dj Khaled going off the rails on Snapchat, Drake becoming as memeable as John Cena, and Kevin Gates trying to get that girl to suck his dogs dick, Kid Cudi’s new album Speedin’ Bullet 2 Heaven fits the same mold of I-Can’t-Believe-This-Happened. As much of a trainwreck SB2H is, that’s what SB2H is supposed to be, arguably making this release his Magnum Opus.
Her vagina is moist and warm/I’ll keep you safe, just hold my arm
Within the first two minutes of the album, the opening track “Edge of the Earth/Post Mortem Boredom” makes you want to snap your headphones in half and exorcise your ears. Doing none of those as it wasn’t economically feasible in my situation, I dragged myself forward listening for any other redeeming qualities this album might have. It doesn’t. Ambient, empty, nearly dissonant, and simple in a bad way, Cudi is trying to cross into a genre that he studied for what sounds like about a minute’s worth of time. Cudi’s attempt to cross into punk from hip-hop is as if Hannibal attempted to cross the Alps as a dysfunctional alcoholic. Like Hannibal, Kid Cudi was ambitious. This led to his determination of self-producing the whole album with the exception of long-time production buddy Plain Pat, and releasing it under Republic Records. Unlike Hannibal, Cudi fights with himself more often than he does the Romans. With simple chord progression and drum patterns, it’s difficult to even define any progression at all. With sonic impressions and lyricism taken into consideration, this album sounds like a middle-schoolers adventure into Reverbnation. Cudder virtually takes the same chords and loops them over and over again like you would if you had a hip-hop/rap affiliated background, which he does with horrible execution. Almost nothing in this album is redeeming, and nothing he does aids in his quest to be a Punk artist, especially the Beavis and Butthead skits.
Can we hear more Punk Rock? I’m gonna break something, he-he he-he.
Skits are notorious in hip-hop. It wouldn’t be hip-hop if you didn’t have a skit in at least three albums/mixtapes in a year. They’re so prevalent it’s like if you threw a football into an empty parking lot, you’re bound to hit blacktop. You’re not supposed to do this with Punk. These Beavis and Butthead skits just add to the confusing, depressing mess that this album expresses. Beavis and Butthead practically join your side in the midst of the album, mocking it and begging the listeners to look up their own asses than to digest another minute. The only listenable tracks I found are the self-titled track and “Embers” at the end of the first side of his album. The second side of this album shares the same sentiment that the first side does. Only worse. Containing a murder of “Demos” for your ears to pick on, the problem with using this metaphor is that crows are smart. These demos aren’t. SB2H knows what it wants to be, but doesn’t know how. With the music being discordant with everything in the world, it pairs up with suicide and depression with eloquence, which is why this is Kid Cudi’s Magnum Opus.
This album is 100% the purest form of my artistic self
— The Chosen One (@KidCudi) July 4, 2015
At the beginning of Kid Cudi’s illustrious career, Man on The Moon clamored with hints of depression and sadness behind happy and cloudy instrumentation. This had an Of Monsters and Men or Okkervil River abstraction in hiding dark and heavy emotion and lyricism behind proud and enthusiastic instrumentation. Throughout the progression of his musical career, he continued to roll downhill like an ignored and chewed-up tennis ball. You begin to realize that Cudi doesn’t follow a hero’s journey, but a very life-like journey that continues to drag him down. This is why SB2H is his Magnum Opus. He had to cross into a different genre to fully depict what he truly desires. In MOTM, you would think that his music is meant to relate and help you through the dark times in life. Unlike MOTM, his music isn’t meant to help you through depression, it’s to show you his and he accomplishes in doing that completely.
Although a clear portrayal of what he’s become, this is a sin to your ear-holes and is selfish music at its finest, giving this album a 1/10.
For more on hip-hop, keep reading on at TrueToo. If you’re looking for more on Punk, Rancid, NOFX, Titus Andronicus’ The Monitor, Andrew Jackson Jihad, and Defeater is recommended.