Actually, it might be a bit inaccurate to say that K.R.I.T. is a better artist throughout the entirety of Cadillactica. Its more that he's a better artist on the first half. Cadillactica, through its first seven tracks, is the best material K.R.I.T. has released since Return of 4eva, while the second half is...not. But we'll discuss that later. The album starts with a voice popping up in his head as he's about to drift away into sleep, telling him its time to create. I assume that's the same voice that reminds you about that homework you didn't do earlier, but you're too tired to give a fuck. K.R.I.T. is more determined than me, though (I usually just go to sleep and worry about the consequences later), as he gets up and actually starts to create. His message is interesting: humans are great and can make perfection, so why the fuck not? The instrumental follows the same blueprint all K.R.I.T. albums follow: smooth and comforting, nothing too confrontational, but enticing enough to keep the listener wondering what'll come next. Its a great intro.
On a song like “Life", the following track, K.R.I.T. has a chance to actually let loose. Its not a stereotypical, cheesy scream/rap thing, though. With the instrumental basically being a louder, full formed version of the intro, our host shows an aggressive flow that he's never really utilized before. It gets louder and more intense over its four minutes. The hook, while still weak on paper, comes to life thanks to K.R.I.T's intensity, which is a skill I honestly didn't think he had in him. Even when the music is relatively quiet, there's an urgency in K.R.I.T's voice that wasn't there before.
The album doesn't completely hit its stride, though, until "My Sub Pt. 3". The track is minimalistic as hell, revolving around an insane level of bass that K.R.I.T. claims requires "two 15s" to experience. As its progresses, the instrumental gradually picks up different elements (you likely won't even notice), until it's reaches a point of absolute beauty. The difference between where the track starts and where it ends is startling. Our host keeps things rolling by introducing a trio of singles, all of which are good. The title track, minus the previously mentioned awful hook, contains a spaced out instrumental (this whole album is supposed to be taking place on a planet called Cadillactica), while K.R.I.T. uses his aggressiveness with an double-time flow that just sounds terrific. "Soul Food" and "Pay Attention" follow, with the former paying a not-so subtle homage to Goodie Mob, another one of K.R.I.T.'s most obvious influences. The later, though, opts for a more commercial sounding beat, but it works within the context of the song. K.R.I.T.'s story of finding "the one" in the midst of the club can be a bit eye rolling, but I guess its better than what used to constitute as his club bangers. "King of the South", another song relying heavily on minimalism is far from the best track K.R.I.T. has made, but the sheer level of confidence he displays keeps my attention. His attitude makes all the difference.
Immediately after, though, comes the album's sharp decline. It starts in spectacular fashion, with "Mind Control" containing one of the most mind-numbingly terrible hooks of the year. K.R.I.T. himself sounds fine, but E-40, who I usually love, drops a pretty piss poor verse, and Wiz Khalifa is Wiz Khalifa, so there's no point in me trying to explain what he does. The train of disappointment hits a minor bump with the "Standby" interlude, but it picks up full steam when "Do You Love Me?" rolls around. K.R.I.T.'s love ballad to his car is every bit as terrible as you'd expect. The idea is ridiculous, but many of the other tracks have rather interesting foundations, which make the final products all the more frustrating. A song about being in love with someone on an intellectual level ("Third Eye"), a collaboration with Bun B and Devin the Dude ("Mo Better Cool"), and K.R.I.T.'s metaphysical approach to "Angels" should all result in quality material. Unfortunately, none of them are really worth writing home about. The last time on Cadillactica that our host really nails it is on the Jamie N Commons assisted "Saturdays = Celebration". The song has Kanye's influence all over it, and the intended epicness actually translates to a good song.
That's not the case for the closer, though. K.R.I.T.'s final thesis statement on the "Lost Generation" is completely undercut by Lupe Fiasco's bullshit excuse for a verse. Like seriously, Lupe, maybe they don't play your music on the radio because you can't write a hook than doesn't suck all kinds of cock. Or maybe you just aren't ten times smarter than your listeners. Just a fucking thought. Our host has a point, but his Lupe's pretension covered rant ends the show on a really shitty note. And that's a damn shame. As someone who legitimately wants to see K.R.I.T. to succeed, its frustrating to see him continuously fuck up. Although it starts off strong (it's honestly close to flawless through seven tracks), Cadillactica begins to sink under the weight of the undue pressure placed upon him as the current Savior of the South, and by the time "Angels" takes the stage, the man has flat-out drowned. The final product averages out to an album that can be described as "good" at most. It's just that, at this point, good isn't good enough.