Kendrick Lamar created what could be explained as a seismic event in his dismantling of Drake, and the embers are still warm even as their feud was largely settled after “Not Like Us” was released. Not content to rest, Kendrick Lamar last week surprised fans and released a new body of work in GNX, a celebratory collection of sounds influenced by West Coast sonics that is less a victory lap than it is a rallying cry.
Most observers find Kendrick Lamar’s image difficult to narrow down, and that seems largely by design. For portions of his career, K-Dot was narrowly framed as an imaginative lyricist who didn’t chase or want mainstream appeal. Lamar’s ability was forged in the flames of battling for respect on street corners and hazy nights in recording studios with other up-and-coming rappers during his time with Top Dawg Entertainment (TDE). For those aware, it was not a shock that Lamar dispatched Drake in their back-and-forth swings with the precision he did, even if the allegations laid forth remain speculative between the pair. In most eyes, Lamar won their battle on both the audio front and moral grounds, creating a divisive line of discussion between their respective fanbases.
After the Instagram-only release of the track “Watch The Party Die,” the somber tone and messaging suggested a return to a reflective and serene stance that the Pulitzer Prize-winning rapper is noted for, but GNX leans deeper into the gritty aura of Lamar’s native Compton and Southern California culture as a whole. There is even some of the Bay Area’s “slaps” sound among the platters present on the new project, which some report is a mixtape and not a full album.
The project opens with the brooding “wacced out murals,” inspired by a real-life incident where a mural of Lamar was constructed by Gustavo Zermeño Jr. in the rapper’s hometown that was later vandalized. The track also opens with the vocals of mariachi singer Deyra Barrera, who Lamar first encountered during a performance at Game 1 of this year’s World Series with the Los Angeles Dodgers emerging victorious over the New York Yankees.
For the first time, listeners are allowed to peer into the tight-knit backrooms of the musical collective, learning from Lamar himself that his former labelmate Ab-Soul was a lyrical inspiration and even revealing that the Black Hippy quartet of Jay Rock, the aforementioned Ab-Soul, ScHoolboy Q and himself didn’t happen because Lamar found other creative interests. It also confirmed that Lamar leaving TDE to begin pgLang was a mutual split and that the love for the crew remains.
One thing that cannot be discounted is this album also proved to be a showcase for the likes of AzChike, who shows up for “peekaboo” and the project’s title track features Hitta J3, YoungThreat, and Peysoh, all taking advantage of the huge spotlight that comes by way of appearing on a song with one of Hip-Hop’s most revered acts.
At Hip-Hop Wired, we don’t have a scoring system, nor are we interested in ranking the creative works of an artist as that cheapens their vision. Instead, GNX should be appreciated for what it is – a collection of music that showcases the West Coast’s versatility and unification as of late, all spearheaded by Kendrick Lamar taking it straight to the chest of one of the biggest stars in music history. It isn’t an album full of heavy self-analysis like Mr. Morale & The Big Steppers, nor does it mimic the intentional commercialism of DAMN., and it is nowhere near the jazzy and pro-Black To Pimp A Butterfly, biographical as shown on good kid, m.A.A.d. city, or freewheeling like Section.80. GNX operates in a singular orbit just as those projects did, however, doing so with such aplomb that the world is anticipating his next stroke of genius with breathless anticipation.
You must be logged in to post a comment Login