Kanye West’s debut album, The College Dropout, remains a revolutionary album with lyrics that veer from the traditional machismo present among hip-hop contemporaries like 50 Cent and Eminem. West raps about the dangers of materialism, his Christian faith, and his triumph over challenges, including surviving a near-fatal car crash. A year later, two key moments would capture the ideals West stood for. First, in his August 2005 interview with Sway Calloway, he criticized the homophobia far too common in hip-hop at the time, imploring his contemporaries to stop discriminating against gay people. In September of that year, on national TV, he proclaimed, “George Bush doesn’t care about Black people,” criticizing the slow federal assistance to Black communities struggling to recover from Hurricane Katrina. Early in his career, Kanye advocated for marginalized communities and made sincere music that spoke to many.
The Kanye of today seems to embody the same principles he once detested. Since October 2022, he’s used his platform to spew antisemitism and bring attention to the several alt-right figures he’s surrounded himself with. Previously, West has also claimed that slavery was a choice and undermined the work of abolitionist Harriet Tubman. This shift reflects a radical transformation in ideology from the promising young artist who was once a beacon of progressive thought within hip-hop.
VULTURES 1, released amidst West’s recent controversies, came out exactly twenty years after The College Dropout. The album is the first of three announced collaborative efforts from the duo ¥$, formed by West and Ty Dolla $ign. VULTURES 1 is soured by West’s public outbursts, for which he makes no effort to atone for. Unlike his earlier work, VULTURES 1 lacks introspection, and most lyrics offer nothing of value. People often excuse Kanye’s statements because of his musical genius, but the ¥$ duo trade bars about sex, money, and success that serve no greater artistic purpose. The indulgence of the album is especially striking in contrast with West’s 2019 gospel album, Jesus is King.
On songs like “KING,” West references his recent controversies, but instead of showing remorse, he basks in his continued success despite his offensive statements. This lack of remorse is especially troubling, given the influence that artists as popular as Kanye wield. His refusal to acknowledge the damage he’s caused and his irresponsible use of his platform demonstrate that he no longer has anything of value to say at this point in his career. The bright-eyed socially conscious rapper we once knew is gone and has been replaced by what Variety described as “a wanton edgelord, intent on saying some of the foulest things imaginable.”
Despite lacking lyrical depth, VULTURES 1 shows that Kanye hasn’t completely lost the ability to make great-sounding music. From a purely sonic standpoint, VULTURES 1 is well-produced. The album features production from innovative producers, including JPEGMAFIA, Timbaland, and West himself. While his previous album, Donda, suffered from a bloated tracklist, VULTURES 1 takes a more concise approach with its 55-minute run-time. Songs like “BURN” and “PROBLEMATIC,” highlight the album’s stellar production. The two songs feature soul-laced production reminiscent of Kanye’s earlier work.
“CARNIVAL,” the album’s highest-charting song, is extremely unusual. It features a chorus from Rich The Kid, and its instrumental is built around a choir of heavily accented Italian soccer fans. While Kanye’s flow in the song is impressive, his lyrics remain problematic. He compares himself to known abusers R. Kelly and Bill Cosby and, 20 seconds later, raps, “I’m the new Jesus, bitch, I turn water to Cris’.” Verses like these serve as reminders that Kanye is out of his lyrical prime, and the introspection he was once known for has been usurped by an obsessive penchant for provocation. Playboi Carti’s verse, on the other hand, steals the show as he floats effortlessly over the beat. Carti appears again on “FUK SUMN,” where he is the saving grace of a song featuring lackluster production, unenthusiastic performances from Ty Dolla $ign and Travis Scott, and Kanye vocals that are pitched comically high.
On VULTURES 1, the ¥$ duo paint brilliant sonic landscapes but deface them with vapid lyrics and an unwillingness to take accountability for Kanye’s hurtful remarks. The album’s shortcomings are indicative of the broader fall of Kanye West. Once a beloved superstar who challenged the norms of hip-hop and stood against discrimination, Kanye has become an irresponsible provocateur who no longer cares about the impact his wide-reaching words have.
