KENDRICK LAMAR - GNX (Official Discussion)

[mtbsm]

Makes some good points first few paragraphs. No opinion of the politics talk, and def disagree with only liking 6-7 joints

[The Predator]

Kendrick Lamar – GNX | Review



Kendrick Lamar’s new album, GNX, hit the scene like a curveball, catching fans and critics off guard. Known for his dense, intricate storytelling and heavy conceptual themes, Kendrick flips the script here with a project that feels stripped down, looser, and more visceral. The energy is unmistakably West Coast, and the album feels like it was designed to be blared from car speakers on a hot LA afternoon. It’s far from his most ambitious work, but it’s still unmistakably Kendrick—filled with clever wordplay, hard-hitting beats, and moments of brilliance. That said, it doesn’t quite reach the heights of his greatest works like Good Kid, M.A.A.D City or To Pimp a Butterfly.

Let’s address the elephant in the room first: every time Kendrick drops something, there’s an almost ritualistic chorus of fans proclaiming it the “Album of the Year” before the first song even finishes. The fervor surrounding Kendrick is undeniable, and while his track record speaks for itself, this time around, the worship feels a bit overblown. It’s almost like Kendrick could step into the booth, open a crumpled receipt from his local grocery store, and start reading it out loud. Imagine it:

“Eggs. Whole milk. Apples. One pack of flour tortillas.” Add some moody piano chords in the background and a minimal 808 beat, and within five minutes, social media would be flooded with think pieces analyzing the deeper meaning behind the apples or the sociopolitical commentary hidden in the tortillas. Kendrick fans would declare it a groundbreaking meditation on food systems, late-stage capitalism, or his relationship with nostalgia.

The point is, the pedestal Kendrick has been placed on is so high that even his most casual work—or what might feel like filler to some—gets elevated to godlike status. He’s undisputably one of the greatest rappers of our time, but the intensity of the instant praise can sometimes overshadow the actual music. This time with GNX, it feels like the fandom is projecting greatness onto an album that doesn’t necessarily carry the same weight as his earlier masterpieces. While Kendrick’s name alone demands respect, it’s worth stepping back and asking if GNX truly reaches those legendary heights or if it’s being carried, at least partially, by the gravitational pull of his reputation.

The truth is that GNX isn’t groundbreaking or game-changing, but it is fun, digestible, and likely his easiest album to dive into. For all its strengths, this isn’t the kind of album that redefines the genre or pushes any grand cultural agenda. It’s a collection of tracks that reflect where Kendrick is now—mature, reflective, and perhaps a little less precious about his art.

The album opens with “wacced out murals,” a fiery declaration of war. The tension is palpable, with Kendrick taking aim at both the industry and some of his own idols. Over dark, pounding drums and menacing strings, he calls out Snoop Dogg and Lil Wayne while reminding everyone that he’s at the top of the rap game. It’s aggressive, raw, and a clear signal of intent: Kendrick is here to set the tone, and he’s not playing nice. But as the album progresses, that intensity shifts into something more exploratory.

The album’s standout track, “reincarnated,” dives into Kendrick’s fascination with past lives and the cycles of history. Over a soulful, Tupac-sampling beat, he paints vivid pictures of imagined identities: a guitarist navigating racism in the 1950s, a Black woman struggling with addiction, and a musician bartering his talent for fame. It’s one of the album’s most introspective and moving songs, grounding Kendrick in a larger narrative of Black music and its triumphs and tragedies. The production feels warm and nostalgic, yet Kendrick’s lyrics anchor it firmly in the present.

Elsewhere, GNX is brimming with the sounds of contemporary West Coast Hip Hop. Tracks like “gloria” and “luther” pulse with smooth energy, blending sharp, minimalist beats with Kendrick’s effortless charisma. SZA makes two appearances, and her contributions add much-needed texture to the album. Her voice is smooth and inviting, contrasting nicely with Kendrick’s fiery delivery. While some of the guest features—largely from up-and-coming LA rappers—don’t quite hit the same mark, it’s clear that Kendrick is using his platform to elevate new voices. It’s a noble effort, even if the execution doesn’t always stick the landing.

The album’s title track, “gnx,” is a posse cut featuring a trio of underground LA artists. Kendrick largely steps back here, letting the guests shine while he holds down the hook. Unfortunately, the beat is awkward and clunky, undermining what could’ve been a standout moment for these newcomers. While their energy is on point, the track feels like a missed opportunity, bogged down by production that doesn’t do anyone any favors.

If there’s one consistent criticism of GNX, it’s the unevenness of its production. While Kendrick’s lyricism and delivery remain as sharp as ever, some of the beats feel one-dimensional, even boring. Tracks like “dodger blue” and “hey now” suffer from this lack of spark, leaving Kendrick to carry the weight of the songs entirely on his own. Even Jack Antonoff, a surprising name on the production credits, delivers mixed results. Some tracks benefit from his sparse, synth-heavy approach, but others feel hollow, as if they’re missing the depth that made Kendrick’s past albums so captivating.

Still, when the album works, it really works. Songs like “tv off” and “squabble up” hit hard, blending infectious hooks with layered storytelling. “heart pt. 6” sees Kendrick reflecting on his early days, painting vivid memories of his rise alongside collaborators like Jay Rock and SZA. It’s a rare moment of nostalgia on an album that’s otherwise focused on moving forward. Even when GNX stumbles, Kendrick’s raw talent keeps things engaging. His flow is as versatile as ever, shifting effortlessly from aggressive bar spitting to introspective musings.

Perhaps the most surprising thing about GNX is its lack of cohesion. Where previous Kendrick projects felt meticulously crafted, this album is loose and scattered, more like a mixtape than a traditional studio release. That’s not necessarily a bad thing—it’s refreshing to hear Kendrick cut loose—but it does make the album feel less significant in the grand scheme of his career. Compared to the sprawling complexity of Mr. Morale & The Big Steppers or the cultural weight of To Pimp a Butterfly, GNX feels lightweight, almost unfinished.

At the same time, that looseness gives the album a certain charm. It’s not trying to be a masterpiece; it’s an exploration, a snapshot of Kendrick’s current mindset. There’s a sense that this might be a prelude to something bigger, a chance for Kendrick to recalibrate before diving into a more ambitious project. For now, GNX serves as a reminder that Kendrick can still dominate the rap game without overthinking it.

Of course, it wouldn’t be a Kendrick album without some controversy. The lingering shadow of his beef with Drake looms over this project, even if it’s not explicitly addressed. Kendrick’s victory lap after dethroning one of pop-rap’s biggest names sets the stage for much of GNX’s braggadocio, but the album itself feels more concerned with the future than rehashing old feuds. Still, the absence of a central theme or concept may leave some listeners wondering what Kendrick is trying to say here, beyond reminding everyone that he’s still the best in the game.

So where does GNX fit in Kendrick’s discography? For us, it’s better than Mr. Morale and even more enjoyable than DAMN, but it doesn’t come close to the storytelling brilliance of Good Kid, M.A.A.D City or the cultural significance of To Pimp a Butterfly. It’s a middle-tier Kendrick album, which is still miles ahead of most of his peers. Tracks like “reincarnated” and “gloria” are proof that Kendrick can deliver standout moments even on an off day, while songs like “gnx” and “dodger blue” show that even the greats aren’t immune to missteps.

Ultimately, GNX is what you make of it. For longtime fans, it’s a chance to see Kendrick experimenting and letting loose, even if the results are uneven. For casual listeners, it’s an accessible entry point into one of rap’s most celebrated discographies. It’s not “Album of the Year”, but it doesn’t need to be. Kendrick Lamar has nothing left to prove, and on GNX, he sounds like he’s finally enjoying that fact.

7.5/10

--------------------

Kendrick Lamar Addresses Super Bowl Drama and Five Other Takeaways From ‘GNX’

The surprise album is Kendrick's first official release since his chart-topping hit "Not Like Us"



 With no warning—and because he can—Kendrick Lamar dropped his new album GNX on Friday afternoon. The record takes its name after the 1987 Buick featured on the album’s cover, the same year Kendrick was born. The rapper behind the biggest song of the year, who may be responsible for the potentially permanent demise of a particular rapper from Toronto, is as detail-oriented as ever on the record, leaving a number easter eggs for fans to dissect in the coming days. Off the bat, however, GNX is clearly a love letter to Kendrick’s native Los Angeles. The city’s distinct G-Funk infused sound is all over the album, produced by a tight circle of collaborators including Mustard, the architect of the lethal weapon of a diss track “Not Like Us,” as well as Jack Antonoff, whose crafted some of the biggest pop albums on the planet. Kendrick manages to strike a balance between both sensibilities, making songs with mainstream appeal that maintain a focus on LA’s unique sound

There’s plenty to unpack with GNX, including possible responses to commentary around the announcement of Kendrick’s Super Bowl performance, and his ongoing feud with Drake. We put together seven key takeaways from Kendrick Lamar’s surprise album GNX.

Jack Antonoff’s production   

Earlier this year, Jack Antonoff and Kendrick Lamar tested out their potential as collaborators on “6:16 in LA,” the second diss track to arrive in the rapper’s feud with Drake. Antonoff was fresh off the release of Taylor Swift’s The Tortured Poets Department and a self-titled record from his own band Bleachers when he appeared as a co-producer on the track. He helmed the track alongside longtime TDE collaborator Sounwave. Now, their names appear beside each other on 11 out of the 12 tracks on GNX. Sounwave and Antonoff share production credits across the album with the likes of Mustard, M-Tech, and Lamar himself.

Primarily a pop producer (his other major release this year includes Sabrina Carpenter’s Short n’ Sweet), Antonoff explores new ground across GNX. “Dodger Blue” is the closest he gets to leaving the mark of his signature sound, but the song also marks a reunion. Sam Dew is credited as a songwriter on the track. In 2019, Antonoff, Soundwave, and Dew launched the collaborative music project Red Hearse. The trio released one album together, but reunited in 2022 on Taylor Swift’s Midnights single “Lavender Haze.” Sounwave and Antonoff also co-wrote and co-produced “Karma” sans Dew.

“Me and Jack, we keep each other informed on any project we’re working on,” Spears told Rolling Stone in 2022. “We usually take at least a week out of the year just to create with no goal in mind.” And if anyone knows what Lamar is looking for, it’s Sounwave. Their creative partnership dates back more than 15 years, to the rapper’s earliest mixtape releases. “When you talk about Kendrick, you have to talk about Sounwave,” TDE president Terrence “Punch” Henderson told Rolling Stone in 2018. “Kendrick will half-state an idea in his head and Soundwave will finish the thought for him. He’s the glue to it all because even if he’s not making his own beat, he’s adding onto what Kendrick needs.” — L.P.

Kendrick Mentions Lil Wayne and The Super Bowl Controversy   

Many thought Kendrick Lamar was the logical choice for the upcoming Super Bowl Halftime show. Kendrick is a chart-topping artist with a lengthy catalog. But some, such as Nicki Minaj and Birdman, felt like those bonafides are exactly why Lil Wayne should have been chosen for a hometown set at the New Orleans exhibition. Wayne expressed disappointment in not receiving the nod from his NFL-affiliated friend Jay-Z, even telling the crowd at his Lil Weezyana festival he was “robbed” of the moment. Kendrick reflected on the hysteria on “wacced out,” noting, “Used to bump Tha Carter III, I held my Rollie chain proud / Irony, I think my hard work let Lil Wayne down.” Kendrick has always been reverent of Wayne, even (drunkenly) pleading for him not to retire in 2016. But sometimes, idols become rivals.  — A.G.

Kendrick Lamar Saw This Mariachi Singer at a Dodgers Game. Now, She's on 'GNX'

Kendrick Gets Groovy With Eclectic References   

In many ways, GNX is a hodgepodge of sentiments, ideas, and sounds, especially through a pretty refreshing roster of samples and interpolations. “Squabble Up” samples Debbie Deb’s 1980s freestyle classic “When I Hear Music” and “The Heart Pt.” seems to pull from“The Heart Pt. 6” also boasts a a sweet sample of “Use Your Heart” by SWV, the girl group that reached its heights in the 1990s – and since that song samples “If It Don’t Turn You On (You Oughta Leave It Alone)” by 1970s funk collective B.T. Express, Kendrick’s does too. On “Luther,” vocals from the late R&B legend Luther Vandross take center stage, pulled from his feature on Cherl Lynn’s 1982 version of “If This World Were Mine,” a cover of a song by Marvin Gaye and Tammy Terrell.  — M.C.

Los Angeles’ Música Mexicana Scene Makes an Appearance   

GNX opens with the haunting vocals of mariachi singer Deyra Barrera, a Los Angeles-based mariachi singer, on “Wacced Out Murals.” When reached by Rolling Stone, Barrera was still in shock that her vocals made it on the album, including on Tupac tribute “Reincarnated” and album closer “Gloria.” “My skin gets goosebumps because all of this happened so quickly for me,” she said. “It’s magical. I want to cry.” Lamar has never shied away from honoring Los Angeles’ Mexican roots, including in videos for “Not Like Us” and “Family Matters,” where he posed in a mariachi sombrero. — T.M.

Kendrick and Mustard Team Up For More Magic   

When Kendrick Lamar dropped “Not Like Us,” the chemistry between K Dot and Mustard, who produced the track, was powerful enough to force something of a realignment in the world order. On GNX stand-outs “Hey Now” and “TV Off” the two link up yet again and illustrate that they might very well make for a generational rapper and producer duo. Both songs highlight the pair’s synergy. Mustard’s production, with its bouncy, swinging bass offers Kendrick the perfect pocket to run wild in. “TV Off,” in particular has the feeling of a spiritual sequel to”Not Like Us,” and possibly with the same staying power. – J.I.

Kendrick Gets “Reincarnated” as Tupac tribute   

Kendrick has always revered Tupac as one of his favorite artists and deepest influences. He had a “conversation” with him on 2015’s “Mortal Man,” and on GNX he decided to channel his musical presence on “Reincarnated,” a song where Kendrick figuratively explores his past lives as a guitar player and a Chit’lin circuit singer. The track is an interpolation of Tupac’s “Made Niggaz,” a Johnny J-produced single from the Gang Related soundtrack that’s one of the final songs the late rap icon intentionally recorded to release. The track feels specifically like an homage to 1996 Tupac, when he dropped the Makaveli album, a spirituality-tinged, existentialist epic that pushed thematic boundaries.

Tupac’s music from that period was defined by an anger and lust for vengeance that permeated through his delivery. His mic presence was always powerful, but in 1996, consumed by a sense of betrayal from former friends, he sounded downright vitriolic. Kendrick expertly emulates that energy from the first bars of “Reincarnated.” In the first two verses, he spookily mirrors Pac’s see-saw of low and high tones, double-time cadences, and emphasis on internal rhyme that lets him stretch out on the end rhyme (“gifted as a musician I played guitar on a grand level”). So many artists over the years have vied to channel their interpretation of Pac’s legacy in back-against-the-wall beef moments, but Kendrick decided to embody him by just being a hell of a rapper. So much for “Tupac wasn’t a lyricist.”

[The Predator]

Ranking Kendrick Lamar’s Albums



Ranking Kendrick Lamar’s albums is no simple task. Each release feels like a distinct chapter in an artist’s career defined by constant reinvention. Where many artists settle into a formula, Kendrick has spent his career refusing to repeat himself, each album bringing a new style, energy, and perspective.

Hailing from Compton, California, Kendrick began his music career as a teenager under the name K-Dot, catching local attention with his 2004 mixtape, Youngest Head N**a in Charge (Hub City Threat: Minor of the Year). This early buzz eventually led to his signing with Top Dawg Entertainment (TDE). Over time, Kendrick’s ability to tell stories and create vivid worlds elevated him into one of Hip Hop’s most celebrated artists. His major-label debut, good kid, m.A.A.d city (2012), was a breakout moment that put him in the spotlight, while 2015’s To Pimp a Butterfly redefined his position in the culture, establishing him as a force far beyond rap.

Kendrick’s discography includes an EP (Kendrick Lamar EP, 2009), five mixtapes, a compilation album (Untitled Unmastered, 2016), and six studio albums: Section.80 (2011), good kid, m.A.A.d city (2012), To Pimp a Butterfly (2015), DAMN. (2017), Mr. Morale & The Big Steppers (2022), and GNX (2024). Each project feels like a reflection of its time, pulling from the sounds and moods of the moment while staying uniquely his own.

From the soulful reflections of To Pimp a Butterfly to the minimalist intensity of DAMN. and the sprawling, unpredictable nature of Mr. Morale & The Big Steppers, Kendrick’s catalog showcases his ability to adapt without ever losing the weight of his voice. Ranking these albums means comparing not only their sound but the emotions, memories, and ideas they evoke. Each one offers something different—and every fan has their own answer to which one hits hardest.

Ranking Kendrick Lamar's Albums

6. Mr. Morale & The Big Steppers (2022)

Kendrick Lamar’s fifth studio album, Mr. Morale & The Big Steppers, was one of the most anticipated releases in years, arriving after a five-year hiatus following DAMN.. While DAMN. earned its share of praise, it didn’t reach the heights of Kendrick’s masterworks good kid, m.A.A.d city (2012) and To Pimp A Butterfly (2015). With Mr. Morale & The Big Steppers, Kendrick once again ventures into new territory, crafting a deeply introspective and challenging record that solidifies his reputation as one of Hip Hop’s most creative and complex artists.

This album dives headfirst into Kendrick’s internal world, exploring his fears, regrets, and contradictions with striking honesty. Where good kid, m.A.A.d city painted a vivid portrait of his Compton upbringing and To Pimp A Butterfly tackled collective struggles and systemic issues, Mr. Morale & The Big Steppers turns inward. The result is raw and unfiltered, a snapshot of a man grappling with his identity in real-time. Kendrick doesn’t shy away from difficult truths or messy emotions, which gives the album a confessional quality.

The album’s double-disc structure complements its duality, oscillating between calm reflection and sharp tension. Themes of healing, generational trauma, and moral conflict run throughout, but they aren’t tied up neatly. Instead, the contradictions remain unresolved, adding to the album’s complexity. Sonically, the production is sharp and precise, often stripped back to let Kendrick’s voice and words take center stage. It’s not always easy to digest, but that seems to be the point.

However, for all its ambition and honesty, Mr. Morale & The Big Steppers struggles with replay value. Its weighty themes and emotionally dense content make it a rewarding listen, but it’s not an album you’ll find yourself reaching for repeatedly. Compared to Kendrick’s other works, which often balance depth with accessibility, this one feels more like a reflective experience than a go-to listen. While it deserves credit for its daring approach, Mr. Morale & The Big Steppers ultimately ranks sixth on this list. Its intricate, layered nature makes it an important part of Kendrick’s discography, but it lacks the staying power of his best work. | 7/10


5. GNX (2024)

Kendrick Lamar’s 2024 surprise album, GNX, landed like a curveball, surprising fans and critics alike. Known for intricate storytelling and heavy conceptual themes, Kendrick flips the script here with a looser, more visceral project. The energy is pure West Coast—a soundtrack for blaring from car speakers on a hot LA afternoon. While unmistakably Kendrick, with clever wordplay, hard-hitting beats, and moments of brilliance, GNX lacks the ambition of masterpieces like To Pimp a Butterfly or Good Kid, M.A.A.D City.

GNX isn’t as groundbreaking; it’s a digestible, fun collection of tracks that reflect Kendrick’s current mindset—mature, reflective, and less concerned with perfection. It’s not an album that redefines the genre or pushes a grand cultural agenda, but it doesn’t try to be.

The album opens strong with “wacced out murals,” where Kendrick’s fiery delivery takes aim at the industry and some of his idols over pounding drums and ominous strings. Tracks like “reincarnated” stand out for their introspection, with Kendrick weaving imagined past lives into a soulful meditation on history and identity. Meanwhile, songs like “gloria” and “luther” add depth, and SZA’s smooth vocals add texture in her two standout features. However, not all experiments land—tracks like “gnx” (featuring LA newcomers) and “dodger blue” falter under weak production, a recurring issue throughout the album.

While GNX lacks the cohesion of Kendrick’s earlier projects, its looseness offers charm. It feels less like a masterpiece and more like a mixtape—a snapshot of where Kendrick is now. Though uneven, it’s still proof that even on an off day, Kendrick remains miles ahead of most peers. | 7.5/10

4. Kendrick Lamar - DAMN. (2017)

For us, DAMN marked a noticeable dip in Kendrick Lamar’s streak of greatness following two back-to-back classics. While it’s not a bad album by any means, the overwhelming praise it received upon release felt disproportionate. The reaction to DAMN—critics and fans alike hailing it as an “instant classic”—felt more like a reflex than a true evaluation. Kendrick’s reputation often makes him nearly immune to criticism, much like the reverence surrounding legends like 2Pac and Biggie. Suggesting DAMN falls short of Kendrick’s best work is almost guaranteed to spark backlash. But the truth is, DAMN isn’t flawless, nor does it measure up to good kid, m.A.A.d city or To Pimp a Butterfly. It’s an okay album, but not extraordinary.

Where To Pimp a Butterfly was a sprawling, layered exploration of social and political struggles through the lens of Black music history, and good kid, m.A.A.d city told a cohesive coming-of-age story steeped in the streets of Compton, DAMN feels less focused. It lacks a clear thematic thread to tie everything together. Instead, it leans into a looser, more fragmented structure. Some tracks, like “DNA” and “DUCKWORTH,” stand out with their sharp production and powerful energy. “DNA” is hard-hitting and raw, while “DUCKWORTH” tells an intricate story, carried by vivid lyricism and shifting beats. These moments remind you of Kendrick’s skill and vision. But elsewhere, the album falters. Tracks like “LOVE” drift toward a more commercial sound, veering into territory that doesn’t feel natural for Kendrick.

It’s not that DAMN doesn’t have its highlights—it does. The production, at times, is striking, and there are flashes of Kendrick’s lyrical brilliance. But it’s hard to ignore how disjointed the album feels compared to his earlier work. Even its biggest accolades, like the Pulitzer Prize, felt misdirected. The Pulitzer board seemed to have missed the moment for To Pimp a Butterfly and retroactively awarded Kendrick’s follow-up instead, an odd recognition for an album that doesn’t carry the same weight or scope.

Ultimately, DAMN is fine. It has its strengths, but it doesn’t feel as purposeful or cohesive as Kendrick’s best projects. It’s a solid album, but far from the masterpiece it was immediately labeled to be. Compared to other albums in his catalog—and even other Hip Hop albums released in 2017—it simply doesn’t hold the same lasting power. | 7.5/10

3. Kendrick Lamar - Section.80 (2011)

Kendrick Lamar’s official debut album, Section.80, arrived after a string of mixtapes that had already earned him attention. With 16 tracks spanning an hour, the project feels purposeful and grounded. While it would take another year for Kendrick to break into the mainstream with good kid, m.A.A.d city, this album shows his potential in full force. Musically, Section.80 leans toward a more traditional Hip Hop sound than the experimental styles Kendrick would explore later. The production is thoughtful, pairing well with his relaxed delivery and introspective lyricism, creating a listening experience that’s engaging, though often heavy in tone.

There’s a rawness here that makes the album feel personal. Songs like “Keisha’s Song,” “Ronald Reagan Era,” “Poe Man’s Dreams (His Vice),” and “Hol’ Up” stand out with their vivid storytelling and sharp writing. These tracks dig deep into topics like systemic struggles, personal vices, and the environment Kendrick grew up in. The mood of the album is reflective and sometimes dark, but it’s balanced by moments of sharp wit and charisma. While not every track hits the same mark—“Blow My High” feels less impactful than the rest—it doesn’t take away from the strength of the album as a whole.

Section.80 may not have launched Kendrick into the spotlight, but it laid a strong foundation for everything that came after. It’s an album that rewards careful listening, offering substance and depth that lingers long after it ends. | 8/10


2. Kendrick Lamar - good kid, m.A.A.d. city (2012)

In 2012, Kendrick Lamar released good kid, m.A.A.d city, his second album and major-label debut, and it instantly became a defining moment for Hip Hop. From the first listen, it was clear this project was different—an intricate, immersive dive into Lamar’s teenage years in Compton, surrounded by gang violence, peer pressure, and the struggles of his community. Framed as “a short film by Kendrick Lamar,” the album is less a collection of songs and more an unfolding narrative, piecing together moments of triumph, regret, and survival.

Each track contributes to the story, and while songs like “Backseat Freestyle” and “Swimming Pools (Drank)” might feel larger-than-life on their own, they’re even more powerful in the context of the album. The balance between standalone appeal and storytelling depth is a rare achievement. Every track pulls listeners deeper into the emotions and dilemmas Kendrick faced growing up—whether it’s the haunting introspection of “Sing About Me, I’m Dying of Thirst” or the explosive energy of “m.A.A.d city” with MC Eiht.

The production plays a crucial role in shaping the album’s mood. A mix of ominous beats, atmospheric melodies, and sharp transitions mirrors the tension and chaos of the stories Kendrick tells. Tracks like “Money Trees,” featuring Jay Rock, and the hometown anthem “Compton” with Dr. Dre, bring different textures to the album, from smooth and reflective to celebratory. These shifts in tone keep the listener engaged while staying true to the narrative arc.

Even the visuals—the album cover, the photographs inside—are an extension of the story. The iconic cover art, featuring a family photo blurred and worn, feels as personal as the music itself, grounding the album in the reality Kendrick describes—another reminder that this is a deeply personal reflection of life as a young Black man in Compton.

good kid, m.A.A.d city reveals more with every listen. Its layered storytelling, lyrical depth, and emotionally charged themes demand patience and attention, inviting listeners to peel back the layers over time. It’s an album rooted in specific experiences but broad enough to resonate far beyond them. With this release, Kendrick not only proved himself as a master of his craft but also created a body of work that continues to hold weight over a decade later. This is like a time capsule, a vivid portrait of a place, a moment, and a young man finding his way through it all. | 9.5/10

1. Kendrick Lamar - To Pimp A Butterfly (2015)

What more can be said about To Pimp A Butterfly that hasn’t been said a million times already? This is a monumental album, the kind of work that only comes along once in a generation. Comparisons to Marvin Gaye’s What’s Going On or Public Enemy’s It Takes a Nation of Millions to Hold Us Back aren’t exaggerations—they’re earned. This is an opus that exists on a scale few others have ever reached.

With good kid, m.A.A.d city, Kendrick Lamar had already given the world a near-perfect album. But To Pimp A Butterfly takes that foundation and builds something far more expansive. It’s introspective yet outward-facing, personal but unflinchingly political, raw and unpolished in its truths while executed with the precision of an orchestra. Musically, it’s staggering. Live instrumentation, swirling jazz-funk, deep-pocket grooves, and elements of neo-soul all flow together, creating a sound that feels like the essence of Black musical history distilled into 79 minutes. Every note feels deliberate, every arrangement layered with meaning.

This isn’t an album you throw on in the background or casually skim through. It demands attention. There’s a weight to it—a gravity that forces you to sit with its truths and grapple with its contradictions. Kendrick moves between moments of self-doubt, anger, pride, and despair, his words weaving a narrative that feels both deeply personal and universal. And the guest appearances don’t distract from his vision; they enhance it, creating a larger tapestry of voices and perspectives.

To Pimp A Butterfly is dense and challenging, but it’s also rewarding. It’s not designed for easy consumption, and that’s part of its brilliance. By refusing to compromise its vision, Kendrick delivered something timeless—music that will be revisited and reinterpreted for decades to come. Few albums ever achieve this level of ambition and execution, let alone succeed at both.

If there’s one album from the 2010s that will be studied, dissected, and remembered far into the future, it’s To Pimp A Butterfly. This is more than just a piece of music; it’s a towering work of art. | 9.5/10

[dan9700]

What’s the hype with him, I don’t get it. His voice is annoying and the beats are lazy and flat; only the 2pac one is good, this new west coast fans don’t get classic music, I feel people see his name and act like it’s dope. I heard it all the way through and deleted it straight away. People say I’m stuck in the old days but music was better facts

[doggfather]

Snoopy badazz aint like the album...

[Sccit]

Snoopy badazz aint like the album...

[Jay_J]

Snoop just signed him to death row today

[Sccit]

Snoop just signed him to death row today

he been signed to death row for a minute now

snoop prolly usin him to diss kendrick while stayin neutral

 

[Duck Duck Doggy]

Snoopy badazz what a creative name. Is he related to doggystyllleeeeeeeeeeeeee?

[BIGWORM]

Skimmed through it. His voice annoys me so much I just CAN'T!

[D-Nice]

Wacced Out Murals is an insane intro track. The subtle bassline switch is dope. K Dot flowing like water on it

[Marco]

Kendrick Lamar
GNX
℗ 2024 pgLang, under license to Interscope Records
12 Songs, 44 minutes



1. wacced out murals
Produced By M-Tech, Jack Antonoff, Dahi, franO, Sounwave, Craig Balmoris & Tyler Mehlenbacher

2. squabble up
Produced By Kendrick Lamar, M-Tech, Jack Antonoff, Bridgeway & Sounwave
Contains a sample of "When I Hear Music", as written and performed by Debbie Deb.

3. luther (feat. SZA)
Produced By Sounwave, Rose Lilah, M-Tech, Kamasi Washington, Jack Antonoff & Bridgeway
Contains a sample of "If This World Were Mine", written by Marvin Gaye, as performed by Luther Vandross and Cheryl Lynn.

4. man at the garden
Produced By M-Tech, Jack Antonoff, Sounwave, Craig Balmoris & Tyler Mehlenbacher

5. hey now (feat. Dody6)
Produced By Mustard, Jack Antonoff & Sounwave

6. reincarnated
Produced By Kendrick Lamar, M-Tech, Jack Antonoff, Sounwave & Noah Ehler
Contains a sample of "Made Niggaz", written and performed by Tupac Shakur featuring Outlawz.

7. tv off (feat. Gunplay)
Produced By Sounwave, Sean Momberger, Mustard, Kamasi Washington & Jack Antonoff

8. dodger blue (feat. Wallie the Sensei, Roddy Rich & Siete7x)
Produced By Jack Antonoff, Tim Maxey, Terrace Martin, Tane Runo & Sounwave

9. peekaboo (feat. AzChilke & Dody6)
Produced By Sounwave, Sean Momberger & Bridgeway

10. heart pt. 6
Produced By JuJu, M-Tech, Jack Antonoff & Sounwave
Contains a sample of "Use Your Heart", written by Chad Hugo and Pharrell Williams, as performed by SWV.

11. gnx (feat. Hitta J3, YoungThread & Peysoh)
Produced By Rascal, Jack Antonoff, Sounwave, Tim Maxey and KENNY & BILLY

12. gloria (feat. SZA)
Produced By Jack Antonoff, Sounwave & Deats

Album mixed by Oli Jacobs.

[D-TalkX]

I don’t get it…Most of Kendrick’s music is zzzzzzzzzzz in a baby voice

[doggfather]

Snoopy badazz what a creative name. Is he related to doggystyllleeeeeeeeeeeeee?

Dunno, but both want to suck Snoop dogg 4 so.

[FUCK-YOU-BItch]

Fagott Lamar album of the Year i dont think so [LL Cool J Voice]