Kid Cudi • Satellite Flight: Journey to Mother Moon • Republic • US Release Date: February 25, 2014
Describing Kid Cudi as merely “one of a kind” might be the biggest understatement ever…change that – it is the biggest understatement ever. Album release by album release, the left-field/alternative rapper (or singer or both) continues to deliver music that is, well, completely different from everybody and everything else out there. Kid Cudi’s surprise fourth album, Satellite Flight: Journey to Mother Moon, is no different from previous Cudi albums in regards to the fact that the artist is in his own world, beating to his own drum. Satellite Flight is different than previous Cudi albums in regards to the fact that it is only ten tracks long and of those, four are instrumental. Non-standard and unconventional, Satellite Flight is a true-fans type of album that is more mixtape than studio album worthy. Hardcore fans will ‘eat it up’ while the more casual listener will find it off-putting.
“Destination: Mother Moon” initiates the effort, opening unsurprisingly mysterious with ‘Cudi-ness’ written all over it. One of four instrumentals (40% of the album), it is exhilarating and interesting to listen to. The real heat comes with “Going To The Ceremony”, the first vocal track of Satellite Flight. Opening uniquely itself with spoken word intro (“Now certainly we all recognize the extremely, extremely low probability / of life existing on the moon”), the track dives right into the rock-rap, left-of-center approach that Kid Cudi as well as WZRD has come to be known for. This includes the typical humming, the repetitive lyrics (“But I don’t know where I’m going / where I’m going, it’s all happening / I’m going, it’s all happening”), as well as the driving, minimalism. “Going To The Moon” is familiar fare for the artist. So is its follow-up, “Satellite Flight”, an equally alluring, oddball offering that is as cosmic as the title. “Satellite Flight” is all about ‘vibe’: “Com on don’t be shy / let your guard down and work it.”
“Copernicus Landing” continues with the ‘vibe’ and all things cosmic. It is the second instrumental of the effort. Ultimately, a few minutes gives you the idea while the totality of the cut may overwhelm you with its minimalism. From a classical or electronic music perspective, the techniques are legit. For a mainstream album, maybe this isn’t what you’d expect. Atonement arrives with “Balmain Jeans”, which is by far the freakiest track of the album. Face it, it’s all about the three-letter word, with the confirmation coming on the clever, but salacious “Can I come inside your vortex…” Vortex? I’ll leave that one alone, but I’m sure it’s being used as a substitute for another word… But even subtler, having Raphael Saadiq guesting confirms that the Cudi isn’t that extraterrestrial… he’s still a man who enjoys the things men enjoy… yeah…
“Too Bad I Have To Destroy You Now” is even better, even if it Cudi sets aside pleasure in favor of more direct rap. Kid Cudi is a rapper, but he’s definitely not a gangster. “Too Bad I Have To Destroy You Now” doesn’t change his lot, but it does find him spitting with a mad, agile flow. The hook hooks, and he has some memorable verse lyrics to match, including “All hail King Wizard in the f**kin’ house / been chill for a minute quiet as a mouse / now I got the juice, call me Bishop when you see me round / I be showin’ love / showin’ love baby…” The evolution and pacing of “Too Bad I Have To Destroy You Now” contributes to its success. Unfortunately, “Internal Bleeding” which proceeds isn’t quite the triumph. It’s not bad, but it is definitely more a B than an A grade cut. Still, lyrics like “Cut me down / slice me deep / I dare you / burn my crown / spit on my grave…I’ll haunt you…” makes it worthwhile.
“In My Dreams 2015” is a variation on Cudi’s track from Man On The Moon: End of Day. Lasting under two minutes, it’s a pleasant instrumental. The proceeding instrumental and penultimate cut, “Return Of The Moon Man” (Original Score) should’ve been a drag, particularly at over five minutes, but it is actually an enthralling listen. The best of the four instrumental cuts, “Return of the Moon Man” sports jagged, rhythmic lines and thrives off its minimalism. Very much in the Cudi style, “Return Of The Moon Man” doesn’t feel out of place in the least; it fits the album’s off-putting narrative. Concluding cut “Troubled Boy” is appropriately placed, particularly given vibe, but don’t call it a classic. It fits, but it doesn’t rival the top echelon juggernauts.
So, how does Satellite Flight: Journey to Mother Moon stack up? It is a solid, but ultimately off-putting album. Give its incredibly ambitious, yet easily forgettable title (I continually must check the title on my iPod), the contents work perfect contextually. Title aside and accessibility considered, well, Satellite Flight is all-over-the-place. Cudi’s albums are ‘all-over-the-place’ naturally, so in that regard, he’s still “In-di-cud”. But perhaps where a standard, accessible effort is concerned, Satellite Flight is more jumbled. Again, this album will appeal most to hardcore fans while those who want a ‘cohesive’ taste of Kid Cudi’s work may be better served with his earlier efforts, particularly the Man on The Moon series. I’m onboard for the most part though, but I’m not hailing it the ‘second coming’.
“Going To The Ceremony”; “Satellite Flight”; “Balmain Jeans”; “Too Bad I Have To Destroy You Now”; “Return Of The Moon Man (Original Score)”