In his partnership with Eminem in July 2020, "The Adventures of Moon Man & Slim Shady" in which Cudi raps on the outro, "The trilogy continues" the continuity of Kid Cudi's Man on the Moon trilogy was initially teased. "The album is divided into four "acts" as in the previous two installments: Return 2 Madness The Rager, The Menace Heart of Rose Gold and Forces. Musically, in hopes of bringing back his peace and prosperity, the album's theme sees Cudi struggling against his wicked alter ego, Mr.
Download Kid Cudi Man On the Moon III: The Chosen offline mp3 songs.ĭOWNLOAD Kid Cudi Man On the Moon III: The Chosen HERE: May his next record consist entirely of sci-fi instrumentals, or anti-folk ditties, or both.2020 leak Zip. It's an unlikely sight, but it's a glimpse of the guy that's never quite made it onto a Kid Cudi record before. The song is just two chords, but the voicing is haunting, and as Cudi hums to himself a sweet little melody, he instantly transforms into another possible version of himself: an indie-pop sad-sack troubador, recording on a bed strewn with K Records 7-inches. Cudi sings-sweetly, modestly, and in tune-over nothing but some guitar, finger-picked with athe level of skill that suggests a deep study of Green Day's "All By Myself". The sci-fi synths drop away, as does the dead-eyed chest-puffing. Something surprising happens at the eleventh hour of SATELLITE FLIGHT, however, and it bears mentioning. "Copernicus Landing" is a calm, glowing maze of New Age synths, the sound of machines chattering quietly to each other. It could almost have snuck onto the last Fuck Buttons album and gone unspotted. "Return of the Moon Man" blends a chugging string quartet figure with mournful reverb'ed guitar, while Imperial March horns-notably similar to Yeezus's "Blood on the Leaves" -blare overhead.
Mercifully, SATELLITE FLIGHT ups the ratio on instrumentals to Cudi tracks, and they are, to a degree that is near-comical, the best and most listenable pieces of music CuDi's ever released as a solo artist. A lovely little piano figure here, a sonar blip traveling through the mix there. To navigate successfully around a Kid Cudi album, then, is to get really good at squinting at the periphery.
Maybe we're supposed to imagine this guy singing on the floor with a mouth full of broken teeth? At any rate, the music tumbles down around him like a drunk grabbing onto a curtain rod. Pick any track: on "Internal Bleeding", he assumes a mush-mouth delivery that might be a stab at dramatizing the condition in the song title. It's a smooth, exhilarating piece of music, but Cudi defaces it, stuttering and tum-de-tum-tumming all over it, like an eighth-grader who wondered into the unattended studio and left his own vocal track just for laughs.
The synths on "Too Bad I Have To Destroy You" sparkle like light on water, little off-beat accents coursing beneath and piano notes providing the bass line. He sabotages almost any track he breathes on. Of all these issues, his lack of melodic imagination as a singer is the most damning and difficult to get around. His go-to cadence as a rapper is more "Adam Sandler imitating a rapper" than "rapper." These traits were hard to ignore when he showed up, and he's done absolutely nothing to minimize them in the interim. His singing is ruthlessly flat, and his melodies doodle noncommitally around the same three-note melody he's been humming ever since "Day N Nite". "You're such an adult, pay all your bills, yet you are a zombie," he sings on "Going to the Ceremony". His lyrics, however, remain darts thrown at a barn door.
Kid Cudi has been standing in front of his own music ever since his 2009 debut, doing whatever he can to distract you from his genuine talents: a composer's ear for atmosphere, a professional producer's taste in tone colors. The moment is the Kid CuDi catalog in miniature: A vast, serene, often-beautiful vista of sounds -and then this guy, standing right in front of them.