Kanye's "Vultures 1", reviewed

Scintillating production, cringeworthy lyrics. Ye references his demons but only resolves to make arresting music.

Considering all the madness that accompanies modern Kanye West, there remain staples of predictability when it comes to a new Ye release: It will be immaculately produced alongside bold-face named collaborators, it will be dotted with salty lyrics designed to incite … and it will be late.

It will always be late.

“Vultures 1,” Ye’s latest project with Ty Dolla $ign, never had a chance of making the original fall drop date that was floated. A New Years release turned out to be an enticing tease for the naive. 

But weathered West fans have been steeled to ignore such declared timelines. (“Vultures” ended up dropping exactly 20 years from “The College Dropout’s” release date in 2004.)

It is the art that’s ultimately rendered that is the reward for our patience.

And this is the case even within the 16 tracks that comprise the first of three promised “Vultures” albums.

If there is a unifying critique of “Vultures,” it’s that that first third of the album is the weakest component that lacks urgency. The album’s unquestionable anthem, “Carnival,” which is already being heralded by Ye fanatics as the song of the year, doesn’t arrive until 35 minutes in. Ye seems content to make you wait for the most memorable quips and ingenious stadium-soaring beats. “Carnival” quickly and deservedly charted to Spotify’s No. 1 slot in the U.S. and globally. 

Ordering aside, the wait is worth it, simply due to Ye’s trademark elevated production skills and the smart move to incorporate Dolla $ign’s smooth vocals. Even on the least precious tracks, like “Keys To My Life,” – a skip if I had to pick one – Ye is playing on a different level when it comes to the hip-hop sounds he’s splicing and mixing.

Lyrically is where he’s constantly treading on grenades – leaning into controversies instead of diffusing them and brutally sexualizing his interactions with females by unleashing juvenile tropes that permeate rap more broadly.

This is where Kanye, unfortunately, follows a typical hip-hop playbook instead of breaking the mold.

Most cringeworthy is his explanation that he can’t be antisemitic because he “just fucked a Jewish bitch,” an unfortunate line that stains the album’s title song. He tosses a less serious, obligatory diss at TSwift, claiming ownership of her stratospheric fame just as it peaked with her boyfriend’s Superbowl victory on Sunday.

Still, there are some moments where Kanye is offering hints of reflection, if not confession. Perhaps acknowledging that his tirades merit severe introspection and possible revision.

“Beg Forgiveness” almost appears to be a nod to critics who think Kanye’s sins are irredeemable. “You’ve gone too far and you should hang your head in shame.”

“Problematic” references the “lawsuits and furniture moving” that occurs when he speaks his mind. 

Does this forecast a change? Don’t bet on it.

Ye closes his album with a track titled “King,” concluding that all his drama, unhinged rhetoric and painful outbursts can’t undermine his music dominance.

“Crazy. Bipolar. Antisemite. And I’m still the king. Still the king,” he declares, in a lyrical middle-finger to his critics.

It’s hard to argue with this point. Given his stadium sellouts for listening parties, Kanye still looks commercially viable without the backing of a major label. “Vultures” sped to the top of the charts over the weekend and the buzz around the album is soaring, particularly for an artist that is inherently polarizing and alienating. And won’t be piling up any more Grammy nominations or fawning Vanity Fair profiles.

If I’m honest, this is part of my attraction to Kanye, the artist.

Being able to break all the rules, speak your mind, kiss zero ass and still be successful would be a fantasy for most men in any line of work. It’s also impossible for mortals, which makes Kanye a superhero, albeit a partially villainous one.

Being a longtime Kanye fan, I’ve had to separate the artist and artistry – from the man himself. He is a deeply flawed figure, with prejudice and insecurities that ooze out of him at a whim. He’s a narcissist who has espoused repellent opinions without thinking through the repercussions beyond the stage. 

But his compendium of music and his impact on hip-hop and fashion is already historical.

I’m always rooting for Kanye to become a better man, but we shouldn’t idolize artists as moral role models in the first place.

If forced to choose, I’d still take the artistry and stomach the problematic.

Name one genius who ain’t crazy.