It might be the case that a longing for the old Kanye is misplaced. Bully, the twelfth studio album from Ye, formerly known as Kanye West, feels reminiscent of a greatest-hits compilation in several respects. The album features soul samples reimagined with the innovative finesse that solidified Ye’s status as a key figure in modern music. Listeners will encounter polished, stadium-ready melodies and hooks that, while technically proficient, lack a deeper emotional resonance. As a result, the project comes across as somewhat devoid of vitality, suggesting that the Ye fans once revered may not be making a return.
Bully follows the tumultuous Vultures, where Ye faced considerable hurdles to release on streaming platforms, all while scoring a Number One single with “Carnival.” Vultures portrayed Ye on the defensive, grappling with the repercussions of incendiary comments and actions that significantly damaged his relationships, both personal and professional. His controversies, including antisemitic remarks documented in the documentary In Whose Name?, resulted in a stifled presence in mainstream discourse. Despite this, Ye continued to perform internationally, albeit to a tepid reception, finding himself more a pariah in the United States.
Over time, however, the cultural landscape evolved, mirroring the fervor of Ye’s most controversial statements. Shockingly, his rants no longer feel outlandish when juxtaposed with the discourse prevalent on Musk-era Twitter. Recently, Ye embarked on a journey of image rehabilitation. In a January interview with Vanity Fair, he discussed ongoing complications from a 2002 car accident that famously left him with a wired jaw — a pivotal moment for both “Through the Wire” and his overall career. Coupled with a documented battle with bipolar disorder, some listeners may find it increasingly difficult to view Ye with anything but sympathy.
This duality serves as both an opportunity and a challenge for the music found on Bully, which boasts some of the most sonically polished tracks Ye has produced in years. The album opener, “King,” stands out, evoking vibes reminiscent of Yeezus but with a more refined execution. In this track, Ye raps about his recent controversies, yet fails to deliver any impactful insights. Just as this song appears poised to reach an emotional high point, it is abruptly succeeded by the uninspired “This a Must,” which leans on a nondescript trap beat accompanied by lackluster lyrics.
“Father,” featuring Travis Scott, adds a ray of brightness, showcasing the duo's longstanding chemistry and delivering a quintessential 2010s track that will resonate with fans recalling the music of 2016. In other moments, such as “All the Love,” Ye exhibits some of his most melodically engaging work in years, blending the somber introspection of his 808s era with the grandiosity of Life of Pablo. Songs like “Punch Drunk,” “Whatever Works,” and “I Can’t Wait” adopt the soul-sampling essence of Ye's earlier works, to commendable effect, while the standout track “Circles” features a guest appearance from Don Toliver, embodying the radio-friendly hit that once characterized Ye’s catalog.
Last year, several demos from Bully were leaked, including the tracks “Bully,” “Highs and Lows,” and “Preacher Man,” the latter emerging as the album’s most recognizable single. This track showcases Ye's cinematic flair, akin to the visual storytelling found in the music videos for “Runaway” or “Bound 2.” The leaks ignited rumors suggesting Ye had implemented AI in the album's production, prompting him to clarify that AI had not been employed upon the album’s release.
Ultimately, the specifics may matter less than the overarching sentiment. Regardless of the methods employed in creating Bully, the album conveys an impression akin to decades of Ye's music synthesized through a computational lens. While fans may have preferred to receive any of these tracks during the chaos of the past five years instead of enduring the tumultuous chapter of 2020s-era Ye, an unsettling emptiness permeates the core of Bully. The songwriting appears overly polished and predictable, contrasting sharply with the unpredictability that has endeared Ye to audiences throughout his career. In its essence, this album might be his most introspective yet, illustrating a sobering truth: even stars as luminous as Ye inevitably face a dimming with time.
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