Kanye West’s past two years have been tumultuous and abominable. It started with a bitter divorce, an obsessive hate campaign against Pete Davidson and an abandoned album (“Donda 2”) — and somehow, things got worse from there. In late 2022, he became a vile antisemite who began platforming conspiracy theories straight from the “The Protocols of the Elders of Zion.” It was truly shocking to watch such an accomplished, influential artist devolve into a paranoid bigot who espoused views that made even Alex Jones uncomfortable. In hindsight, it seemed like the inevitable and awful conclusion of Kanye's provocateur tendencies that had increasingly defined his career: Becoming a neo-Nazi was the final frontier of controversy for a man addicted to upsetting people. Most of his 2023 was spent off the grid, reeling from losing all his business deals and music industry connections.
However, it's hard to completely ignore Kanye. His musical and fashion genius is undeniable, his self-confidence is inspiring and his audacity can be as enthralling as it is upsetting. “VULTURES 1,” a collab album between him and Ty Dolla $ign, is a reminder that past his outbursts, mental breakdowns and brashness, Kanye is still a supremely talented artist who knows how to craft a great album.
In stark contrast to the pious “Donda,” “VULTURES 1” is largely a debauched affair. Kanye has shed his born-again Christian persona and entered his middle-aged playboy era. The lyrics are jovial and frequently talk about partying and sex. Yet, the production is dark and menacing, creating a captivating contrast throughout the album. “PAID” is an energetic song with a groovy bass line and a simple but catchy chorus sung by Ty. It also features an utterly bizarre interpolation of “Roxanne” by The Police that somehow works. “BACK TO ME” has a super slick drum pattern and an incredibly funny Kanye performance where he repeatedly sings, “Beautiful, big titty, butt-naked women just don't fall out the sky, you know?” at a breakneck speed. It shouldn't work, but it's just too catchy and passionately sung to hate. Then Freddie Gibbs comes in and delivers an incredible verse — you can always count on guest artists on Kanye albums performing like their lives depend on it.
“FUK SUMN” has a vicious beat that adds palpable aggression to its sexual lyrics. Playboi Carti and Travis Scott also appear on the track and give strong performances. “HOODRAT” has a droning vocal sample that’s present throughout the entire song, creating a delirious mood as Kanye and Ty alternate singing the surprisingly sweet melody. And then there's “CARNIVAL” — the best song on the album. Starting with a chant that sounds like it's coming straight from an English football stadium, the song eventually evolves into an anthemic banger with maximalist production. The beat frantically twitches as Kanye, Ty and company spit vulgar bars that match the energy. It will likely become Kanye’s most popular song since “Father Stretch My Hands, Pt. 1.”
Nevertheless, the album has some brief moments of seriousness and introspection. “BEG FORGIVENESS” is a harrowing track that sheds the player persona that defines the rest of the album. It begins with Chris Brown’s desolate, distorted vocals soaring over a minimal 808, followed by a moving verse by Kanye where he sings, “And if I go tonight, know that I lived a lovely life / Just make sure my kids are right and it is alright.” The following outro is staggering in its emotional intensity, as chopped-up choir vocals build up into an oppressive wall of sound. Ty gives an outstanding performance here, opting to use a more raw, raspier tone than his usual smooth vocals to express the pain he has from a past toxic relationship. It’s a vulnerability we don’t see anywhere else on the album and makes for a powerful, evocative moment.
These thoughtful moments are rare on the album, and I can’t help but wish the album was a little more contemplative and tactful in its subject matter considering Kanye’s past two years. The album’s hedonistic lyrics, while sometimes fun and charming, can eventually feel exhausting and immature; Kanye’s lyricism often lacks the precision and wit his past songs had, even when they too veered off into frivolity. It seems like he’s just throwing one-liners at a wall and hoping they stick. Furthermore, while most of the songs here are good, most never quite reach the musical highs of other Kanye albums. It can sometimes feel safe and unadventurous. The mixing doesn’t do the album any favors either, as it’s often very sloppy and muddled (Kanye’s team is fixing the mix as I write this, so this issue could be rectified.)
“VULTURES 1,” while lacking the inventiveness and focus that define Kanye’s better albums, is still an excellent, highly enjoyable album. You can’t help but be engrossed by the catchy melodies, fun performances and brooding production. It’s a successful reassertion of Kanye’s musical prowess and his ability to craft fantastic songs. Whether that’s enough to rehabilitate him back into society is less certain.
