Tuesday, January 19th, 2021

Playboi Carti ft. Kid Cudi – M3tamorphosis

Whole lotta blurbs…


Al Varela: Whole Lotta Red was a mess, and I’d probably dislike it more if I was a Playboi Carti fan to begin with. I can’t see most of the album resonates with people outside of scattered hooks and beats that are maybe fun as a distraction every now and then. But credit to Carti for at least trying to take his music in a new, experimental direction. Even if it didn’t always work, it tells me there is a creative instinct in there somewhere. “M3tamorphisis” is one of my favorites for that reason. The swamped out bassy beat over Carti’s firecracker delivery and Kid Cudi’s signature hums make this one of the more unique songs on the album. One that has that sense of danger and an atmosphere that’s borderline alien. There’s not much to the song’s content, but it doesn’t need to have it. The point is to get you hype, and this song does it in a way that’s not only really exciting and cool but in a way that I haven’t really heard from any other trap rapper in this lane. 

Alfred Soto: On a swollen, endless album, “M3tamrphosis” is a standout: its insistent buzz, the way Carti breaks syllables into pellets that they bounce off the beats, the luxuriance in pure sound as expression, the entrance of Cudi for his baritone menace.

Rodrigo Pasta: Time might show that Whole Lotta Red was actually better than Die Lit, if only because it’s more eclectic, more maniac, more aggressive than ever before – a mainstream rap album that actively tries to act like an old-fashioned punk album. This song is key to that project, with a razor-sharp synthline like the world’s most powerful bidet, accompanied by Cudi’s disorienting vocals. It creates a feeling of dismay and hesitation, which doesn’t stop as Carti attacks the track like few others in his career. You can’t quite tell when the chorus stops and his verse starts, and his vocal delivery is frighteningly up-close, as the mixing accentuates those shapeshifting moments in his voice (“I feel like MorpheUs“, “mEtaMORPhosISSs“). This can’t be simply disguised as hype music, it’s something more sonically dangerous and pressing. Also, Kid Cudi’s here; good for him.

Nortey Dowuona: When one lets Cudi of all people be a more interesting and propulsive force while at half speed, what can you say? Despite his mounting avalanches or purrs, squeaks and shrieks, when Carti deigns to speak, it’s usually a halt to the crushing rise of the imposing and bulbous beat and whirring chainsaw synths and the raspy, spinning hums of Cudi, simply waiting patiently for the energy to seize the heart and move the ankles and not being converted. And FYI, if we’re talking about rappers who speak in hieroglyphics, Posdonous and Casual are still around.

Will Rivitz: I doubt Carti (famous, extremely cool, good rapper) has the same cultural touchstones as I (blog about pop music, tenuous nerd-chic at best, Ben Shapiro voice) do, but this nevertheless hits a smorgasbord of references I care deeply about. Its production draws from a late-aughts Hyperdub sound I fell in love with despite being too young and too many miles away to experience in person; its Auto-Tuned “I feel like Morpheus” drips with the same chaotic, corrosive confidence as Hannibal Buress; Kid Cudi contributes less in function than in form, not so much an essential element as an affirmation of his heyday’s indelible imprint both on Carti’s sound and my own understanding of what “emo” could mean as a wee teen. It’s not meant for me, but it’s for me all the same.

Katherine St Asaph: The beat sounds like something out of Secret of Mana, Cudi’s backing vocals are a fitting added note of ambience, and Playboi Carti wrings, if not novelty by now, definitely vitality out of blown-out Auto-Tune.

Thomas Inskeep: I’m a known hater of Auto-Tune generally, but Carti makes it as another instrument, another element in his arsenal, the same way that he-who-must-not-be-named did on 808s and Heartbreak (one of the most influential hip hop albums of this century). And Carti excels with it on “M3tamorphosis,” even though the track has a mostly basic trap beat, a basic chorus, and a nothingburger of a guest verse from Kid Cudi. Not only is the way Carti uses Auto-Tune distinctive, but his use of repetition is fascinating and compelling, practically turning phrases into Reichian drones; you can’t turn away.

Andrew Karpan: When you feel like this, nobody really can tell you shit. Playboi Carti so smoothly put together a Kanye West-style vamp-up that it’s vastly superior to the actual Kanye West track on his record. But there’s added value in comparing hip hop’s biggest head today with the erstwhile occupant of the throne. When West made his version of this song, he sang from a throne made of expensive classic rock samples, evidencing a posture of reflective remorse that revealed itself as little more than showman irony. But Carti is now and the world has changed. Power is measured by the steps you take and simple pleasures have become more interesting than long-winded grooves. The buzzing chords that light up Carti’s voice and the din of Kid Cudi’s voice, which hovers around the song in unintelligible groans like an ominous cloud. A certain kind of unintelligibility becomes part of the game and this is something Carti celebrates: “They can’t understand me, I’m talking hieroglyphics.” Fair enough! He speaks in feelings and “M3tamorphosis” is about feeling like a 10, so what other score could it get?

Reader average: [7.62] (8 votes)

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2 Responses to “Playboi Carti ft. Kid Cudi – M3tamorphosis”

  1. the beat sounds straight out of a metroid game (not sure which one) to me

  2. kid cudi takes this down to a [8] tbh but it still slaps