Kid Cudi, also known as “Dat Kid from Cleveland”, has released his debut album, “Man on the Moon: End of Day”. The vulnerable, melancholic, and altogether eccentric indie-rap phenom exploded onto the scene with the success of his party banger anthem “Day’N’Nite”, a single that reached the top ten on Billboard’s “Hot 100” list.

Cudi’s experimental production and minimalist sound, based on electronica-inspired beats, gained the attention of hip-hop veteran Kanye West, who helped produce “Man on the Moon.” Lyrically, the emotional Kid Cudi wears his heart on his sleeve; his introspective rhymes are rooted in the death of his father and the MC’s taste for psychedelic mushrooms. Kid Cudi demonstrates the musical dexterity of the British pop-duo A.R. Kane, who were partly responsible for the sensational “Pump Up the Volume” before making their early shoegaze classics (1988’s Sixty-Nine and 1989’s brilliant but seldom-heard I). Cudi, who actively resists the increasingly materialistic nature of the rap game, comes across as the genre’s interpretation emo’s bleeding confessionals.

In other words, Kid Cudi is different, and decidedly so; the rapper prides himself in his uniqueness. At first listen, “Man on the Moon” rolls on like a three-day binge, the product of one too many space-cakes and Dutch-master blunts. But, if you cut through the cloudy-haze and look beyond the celebration of stoner-culture, you’ll discover torture and triumph; what emerges is the life of a young unpredictable stoner.

“Man on the Moon” opens with “In My Dreams (Cudder Anthem),” where Cudi sings of his “night terrors” over an atmospheric track that sounds like it would be more appropriately placed on a Bjork album. Cudi picks up the pace on the confessional “Soundtrack 2 My Life” where the rapper describes how he “split an eighth of shrooms just so I could see the universe.” Celebrating his own demons, Cudi continues on “now I’m in the cut, alcohol in the wound/My heart’s an open sore that I hope heals soon/I live in a cocoon opposite of Cancun where it is never sunny, the dark side of the moon.”

The ominous “Solo Dolo (Nightmare),” with its plucking violin strings, establishes Cudi’s “me against world” mantra. Produced by seasoned beatmaker Emile, the track is anchored around Cudi’s nonsensical declaration “I’m Mr. Solo Dolo.” Cudi gradually opens up to his listeners, utilizing his piercing yet focused flow to narrate the story of an outcast who finds refuge in his music.

A solid drum beat and transcendent piano chords make “Heart Of A Lion (Kid Cudi Theme Music)” work, and again the track revisits Cudi’s emotional struggles. “My World” is a childhood tale of loneliness; a collage of low self esteem, internal conflict, and dead-end jobs. “Enter Galactic,” the disjointed and frantic disco-ditty that plays like a bad Basement Jaxx song, is the low point on the album, made worse by the album’s rare lyrical miss.

Cudi calls in a favor from a few of his hipster pals on two of the album’s best tracks: “Alive” and “Pursuit of Happiness (Nightmare).” The electronic duo Ratatat anchor “Alive” with their unmistakable beats that drop and break so enticingly. Psychedelic rockers MGMT join the party on the inspirational “Pursuit of Happiness (Nightmare),” providing the chorus’ glowing harmonies and winding chords, over which Cudi declares, “I’ll be fine when I get it, I’ll be good.”

Older tracks like the conventional “Sky Might Fall” and “Make Her Say” (Cudi’s addicting re-envisioning of Lady Gaga’s “Pokerface” which features Kanye West & Common) still sound fresh, as does the breakout hit “Day ‘n’ Nite.” “Hyyerr,” featuring Chip Tha Ripper, is a triple-rhyme slow-jam that returns to the celebration of stoner culture and is dedicated to the sensual pleasures of smoking weed. “Man on the Moon” closes with the pop infused, up-tempo beat of “Up Up & Away,” which sounds so much like an early Black Eyed Peas demo, that it’s a surprise not to hear a verse from Will.I.Am or Fergie.

“Up Up & Away” closes the album appropriately, by leaving the doors of speculation open. Cudi appears to be consumed by expectations as he offers “They gone judge me anyway, so whatever!” Cudi is right, they will judge him – all of hip-hop will judge Kid Cudi, as will the indie scene, who will lament the loss of another talented star to mainstream radio-play. Than there is the added pressure from hip-hop vets like Jay-Z and Kanye West (both have been vocal about the unlimited potential and talent of Cudi) who will look to Cudi and other young MCs deliver fresh sounds. “Man on the Moon” is a bold step for hip-hop, introducing a new perspective and meaningful, honest material without sacrificing authenticity or quality. Through the pot-smoked haze of Cudi’s imagination comes a fresh breath for hip-hop, and while he is by no stretch of the imagination the game’s savior, “Man on the Moon” is definitely a step in the right direction.