Kid Cudi explores his new sound in 'Man On The Moon III: The Chosen'
Rapper Kid Cudi has, once again, landed on the moon. A decade after releasing his debut album, "Man On The Moon: The End Of Day," Cudi released the final installment of his celestial trilogy, “Man On The Moon III: The Chosen,” on Dec. 11, 2020, and it was worth the wait.
Cudi’s original team of producers, including Dot da Genius and Mike Dean, returned on this project to reimagine the melodic, synth-heavy emo-rap beats that have been part of Cudi's signature brand since his first release.
The album, which debuted at number one on Billboard’s Top R&B/Hip-Hop Albums chart, is dreamy and meaningful, yet dark and burdened with conflict. Much like its predecessors, “Man On The Moon III: The Chosen” delves into the story of Cudi's battle with depression and addiction. But this time, it seems that Cudi has finally found his peace.
Cudi's ability to be vulnerable in his raps is one of the key reasons why he has been such a strong influence on both new-age rappers and generations of listeners alike.
Trippie Redd, who, like Cudi, expresses strong emotional vulnerability in his lyrics, appears on the album in “Rockstar Knights,” a track about the loneliness and instability of fame. Although an unexpected collaboration, the flows of both rappers, combined with a beat that synthesizes a psychedelic and hard-hitting rap sound, makes the track simply irresistible.
Similarly, the long-awaited “Mr. Solo Dolo III,” is a dreary and melancholic reflection of the isolation that comes with addiction, pulling listeners into the darkest parts of Cudi's soul.
Although the album is thematically alike to his previous works, Cudi impressively experiments with new sounds in a variety of the tracks. From fusing rap with indie on “Lovin’ Me,” featuring Phoebe Bridgers, to pairing his famous humming melodies with a drill-infused trap beat on “Show Out,” featuring Pop Smoke and Skepta, the rapper proves he can effortlessly work his way into any genre, which is a testament to his versatility.
Cudi’s experimentation continues on “Elsie’s Baby Boy (flashback)," a track that tells the story of childhood and familial trauma. Paired with a folklorish-lullaby melody and acoustic guitar, the track is incomparable to any other Cudi song.
But as brilliant as Cudi's album proves to be, there are a few notable misses.
Rapper Travis Scott noted Cudi as his biggest inspiration and favorite artist, and while Scott has carried pieces of Cudi's style throughout his own discography, Cudi's blatant reproduction of his protege’s sound on “She Knows This” and “Damaged," is somewhat disappointing, as Cudi fails to include Scott’s iconic ad-libs and reverb-heavy flow. On Scott's end though, it's impressive, as he seems to have inspired his inspiration.
Kanye West's notable absence on the album is another downfall to what is otherwise a near-perfect piece of art. West is a frequent feature in Cudi’s discography, producing beats and providing vocals on timeless tracks like “Erase Me" and on Cudi’s second album in the trilogy, his 2010 album “Man On The Moon II: The Legend Of Mr. Rager.”
That being said, each track is unique and the album synthesizes perfectly. On an album without a bad song, it's difficult to pinpoint the real stars. “The Void,” “Tequila Shots” and “Sad People” elevate “Man On The Moon III: The Chosen” in a way that, while still textbook Kid Cudi, sheds light into his evolution as an artist.
The album concludes with “Lord I Know,” showing Cudi’s success in defeating his demons and finding peace in his life and his soul. Although Cudi had teased that the “Man On The Moon” series was a trilogy, the final sound on the album comes from his daughter, Vada, who whispers, “To be continued …” at the end of the track, hinting that Cudi's trilogy may not be finished after all.
