Underwhelming, but by how much?
As a long-time Kanye West fan, and someone who recognises that a lot of Kanye’s work is (a) complex, and (b) shouldn’t be judged by first impressions, I went into Vultures 2 with an open mind. This was despite fans caning the project online, including on Album of the Year where the consensus from listener reviews was that this album marked a new low for Kanye; that the poor production quality and over-reliance on collaborators signals Kanye – someone who used to be renowned for his artistic perfectionism – has all pretty much given up.
Having listened to the album now multiple times, I think these assessments are overly harsh. It is not a bad album. It is still somewhere in the realm of Kanye-complex, which almost automatically brings a level of artistic value. But admittedly it’s far from the lofty heights Ye was cruising at even just a few years back, and it does leave one questioning what the future looks like for a seemingly aimless, and definitely regressing, Kanye.
As the next instalment to Vultures 1, this LP does disappoint. Personally I was hoping that Kanye and the rest of the team would evolve, even improve the shaky but extant intellectual and artistic complexity laid out in Vultures 1 (notwithstanding its vulgarity).
Sadly though, Vultures 2 pushes the envelope too far: lyrically it is so erratic that it’s hard for listeners to distill the musical, artistic or narrative purpose of the project. If there is one.
Noteworthy tracks (for better or worse reasons)
Time Moving Slow
Such is the of nostalgia evoked by this track – think a mid-90s cadence, Mariah Carey-esque vibe paired with 2000’s piano synth – that it would be the perfect track for Kanye to reflect positively on the past. The most he manages is a cryptic tale involving a Range Rover and a ‘cock in the popcorn’ joke. In his second verse, he reverts to modern-Kanye type, aggressively expressing resentments and defiance.
Still, for its nostalgic quality it’s an enjoyable track and I’m a sucker for the line, “Feeling like Jig in his prime.”
Husband (and Lifestyle)
Although the tracks preceding HUSBAND don’t altogether avoid serious subject matter, generally there’s nothing in there that is particularly noteworthy in the context of modern-day rap…especially anything Kanye is involved in. (READ: there is plenty of sexual vulgarity and nothing too socially constructive.)
HUSBAND is an outlier. It is a gentle R&B track, on the face of it setting out all the benefits that a woman could hope for in a ‘husband’. The track is an example of Kanye’s increasing tendency to pine for archetypal religious, societal and family models – which we probably first saw in earnest around the time of his Sunday Services, which coincided with his 2019 album, “JESUS IS KING“.
Curiously though, the track LIFESTYLE may render HUSBAND as sarcastic, or at least skeptical, as it paints the picture of a woman who wants a saviour but isn’t understanding of what the commitment of marriage entails. One line literally being, “you can’t have you’re cake it and eat it too, and I’m the last slice”.
It’s hard not to see LIFESTYLE being influenced by Kanye’s personal life, especially his relationship and history with Kim. It comes across as an anti-feminist piece, framing good husbandry as being unappreciated in the context of modern society.
Sky City
A nice, semi-acoustic track. It has a softer, almost spiritual tone, with a sense of reconciliation running through it. The refrain “Forgive me” stands out, as does the nod to “Ooh child, things are gonna get easier.” It’s a gentle moment in an otherwise chaotic album.
Conclusion
Vultures 2 is unlikely to achieve classic status for me. Unlike Vultures 1, with the likes of BACK TO ME featuring Freddie Gibbs, I don’t think there are any tracks that will keep me coming back.
But you never know with Kanye’s work…what might initially feel absurd can, with time, reveal a level of musical brilliance. For now though I find Vultures 2 more frustrating than rewarding – a collection of intriguing ideas, loosely strung together, that ultimately fails to coalesce.
