{"id":2125,"date":"2017-04-18T02:16:12","date_gmt":"2017-04-18T02:16:12","guid":{"rendered":"http:\/\/scadradio.org\/?p=2125"},"modified":"2017-04-18T20:45:48","modified_gmt":"2017-04-18T20:45:48","slug":"kendrick-lamars-damn-is-yet-another-180","status":"publish","type":"post","link":"https:\/\/scadradio.org\/2017\/04\/18\/kendrick-lamars-damn-is-yet-another-180\/","title":{"rendered":"Kendrick Lamar’s DAMN. Is Yet Another 180"},"content":{"rendered":"

This has been quite the rollercoaster. On my first listen, I hated this album. I thought it was tacky, uninventive and safe. I disliked the boring minimalism of the first half, and was too annoyed by the first half to really give the second half a chance. Fortunately, the record has really opened up to me after several listens. I shouldn\u2019t have to listen to a record this many times to determine my opinion, but Kendrick Lamar albums aren\u2019t like most albums. They\u2019re dense, intricate puzzle boxes, guarded by passwords and riddles. So I kept listening. Yes, I wanted to like this album, but I also wanted to give it a fair shake. Some albums just simply don\u2019t sink in on the first listen. \u00a0<\/span><\/p>\n

I also think it\u2019s important to know that the Compton MC\u2019s last two albums stand as two of my favorite rap albums of all time. <\/span>good kid, m.A.A.d city <\/span><\/i>and <\/span>To Pimp a Butterfly, <\/span><\/i>are in my opinion, stone-cold classics. On the former, Kendrick wove a gripping Boyz in the Hood-esque narrative plucked from his own personal life. On the latter, Kung Fu Kenny just went ballistic, blending P-Funk, freak jazz and spoken word into a kaleidoscopic masterpiece. In my view, it\u2019s the best album of the decade so far. Not just rap. Any album. It was immediate, heartbreaking and awe-inspiring. I still discover new storylines, sonic interludes and anecdotes every time I listen to it. <\/span><\/p>\n

This album is different. That\u2019s not necessarily a bad thing, because Kendrick proves that he\u2019s willing to reinvent himself once again. He ditches the soupy live bass for the 808 drum machine, a move that gives this album a lot more commercial appeal. While I think it\u2019s a little less sonically inspired, there\u2019s nothing wrong with Kendrick making music fit for a club. In fact, one of his biggest strengths has always been disguising injustice and heartbreak inside enjoyable beats. Swimming Pools (Drank)<\/span> is a song about the perils of alcoholism that also masquerades as a party jam. Backseat Freestyle is typical rap braggadocio, yes, but it\u2019s being told to us by a narrator who\u2019s deeply unsure of himself. Lastly, King Kunta is a funky call-and-response\u00a0stomp that directly references Kunta Kinte, the rebellious slave at the center of the miniseries <\/span>Roots. <\/span><\/i><\/p>\n

When people talk about this album years from now, they\u2019ll talk about how it was just as much of a 180 as <\/span>To Pimp a Butterfly <\/span><\/i>was. The album starts off typically enough, with a song that sounds like a calm apocalypse. That\u2019s about the best way I can describe BLOOD (all of the songs, like the album, are in all caps and stylized with a period, but I\u2019ll leave that last part out in order to avoid grammatical confusion). It stays that way for about half of its scant running time, before shifting into a looped soundbite of Fox News\u2019 Geraldo Rivera quoting lyrics from Lamar\u2019s 2015 smash Alright, which became an anthem for the Black Lives Matter movement. Kendrick, even more than before, is making his targets known. The song immediately following BLOOD is (fittingly) DNA, which is one of at least two certifiable smashes that will come from this record. The bass on\u00a0this song is absolutely insane. When played through a subwoofer, it\u2019s loud enough to cause internal bleeding. Seriously. The lyrics are furiously delivered, and they feature Kendrick rapping about his career and his success. The wordplay is clever enough to not come off as purely self-aggrandizing, and it crucially sets up a lyrical touchstone that returns again and again throughout DAMN<\/em>: Kendrick equating himself with Jesus. It\u2019s a little cocky, but you know what? He backs it up. For the most part. <\/span><\/p>\n

The next song is YAH, a slow, drawling cut that sounds like the Beatles\u2019 I\u2019m Only Sleeping reimagined as a rap song. It\u2019s a nice come down after the mania of DNA, although it\u2019s not without its standout moments. Kendrick takes aim at Rivera once again, rapping, \u201cSomebody tell Geraldo this n**** got some ambition\/I\u2019m not a politician, I\u2019m\u00a0not \u2018bout a religion.\u201d This particular lyric was in response to FOX\u2019s criticism of his performance of Alright at the BET awards, which involved him standing on police cars. Kendrick was dismayed and said, \u201cHow can you take a song that\u2019s about hope and turn it into hatred? The overall message is \u201cwe\u2019re gonna be alright.\u201d It\u2019s not the message of \u201cI wanna kill people.\u201d\u201d<\/span> It\u2019s also a response to Rivera\u2019s statement in 2015 where he opined, \u201cHip-hop has done more damage to black and brown people than racism in the last 10 years.\u201d So yeah, there\u2019s a lot to unpack. But I think it\u2019s important to mention, as it\u2019s a huge part of this album, as well as Kendrick\u2019s work at large. <\/span><\/p>\n

Following YAH, we have ELEMENT, which is a fun early-sounding Kenny song, but it\u2019s ultimately not that musically inspired. It\u2019s one of the lesser songs on this LP, but it\u2019s got a fun hook which I can\u2019t really repeat here. His flow heavily borrows from New Orleans rapper Juvenile\u2019s 1998 classic Ha – one of the many Southern-inspired songs on this album. Next we have FEEL, which is pretty downbeat and moody for most of its run time until Kendrick loosens up a little bit near the end. It\u2019s got a real nice bassline though. Following this song, we\u2019ve got the first real high-profile feature on this album, in the form of pop queen Rihanna. Her feature is non-intrusive and complements the song nicely, although I would have rather seen another lesser known artist like Anna Wise or Rapsody take her place, both of whom Kendrick has worked with before. All in all, it\u2019s a decent song with a solid hook. I don\u2019t think it\u2019s much more. <\/span><\/p>\n

Things quickly change for the better, though, as PRIDE is a song that really grew on me. It\u2019s got a wonderfully melancholic, stuttering beat which pairs with Kendrick\u2019s laid-back flow perfectly. He does rap a little slower here, rarely venturing outside the pocket. But man, does it ever sound good. Like a lot of the songs on this album, it doesn\u2019t really shift gears (at least not to the level that Kendrick is known for), but it\u2019s a pleasant and groovy listen. That mood doesn\u2019t stick around for long, as Kendrick\u2019s big new hit HUMBLE comes blasting out of the silence. It\u2019s driven by a somewhat blues-influenced piano riff, but the acidic, industrial screeches that feed into the hook let us know that this is a song designed to be played at maximum volume. It feels a little more shallow than Kendrick\u2019s best work (as does a lot of this album), but I can\u2019t deny how fun it is. LUST shifts the pace once again while also continuing the Southern Hip-Hop influence that permeates much of this record. In fact, it sounds a lot like OutKast\u2019s Vibrate, from their 2003 double album Speakerboxxx\/The Love Below<\/em>. Not that I have a problem with that, because OutKast\u2019s Aquemini<\/em> is one of my favorite rap albums of all time. The fact remains: Kendrick\u2019s influences have shifted substantially, from the smooth West Coast to the dirty South. He\u2019s dipped into Southern-inspired music before, but he\u2019s full-on embracing it now. <\/span><\/p>\n

Next comes the slow R&B jam LOVE, which is one of the most conventional songs on this album. However, it\u2019s actually one of my favorites, as the beat reminds me a lot of the \u201cDire Dire Docks\u201d level from Super Mario 64<\/em>, which is one of my favorite video game themes ever. So yeah, it\u2019s a personal choice. But I can\u2019t deny that it makes me feel all good inside. Kendrick quickly dispenses with the sweetness on its follow-up, XXX. The U2-featuring track wages war on America itself, and contains some of K-Dot\u2019s (I\u2019m running out\u00a0of his pre-established nicknames) most pointed and sharp lyrics. He merges the religion motif with politics, with the line \u201cHail Mary, Jesus and Joseph\/The great American flag\/Is wrapped with guns and explosives.\u201d It only makes sense that he\u2019d recruit U2, a band that doesn\u2019t often shy away from social commentary. As far as the sound of the song goes, it\u2019s pretty nuts, featuring looped and swirling police sirens before switching gears to Bono crooning over some jazzy bass. The smooth vibe of XXX makes the transition over to the next track, FEAR. It starts off simply enough, before Kendrick starts rapping backwards like he\u2019s stuck in the Black Lodge from David Lynch’s TV seriesTwin Peaks<\/em>. It sounds pretty awesome, but the track eventually sags under the weight of its nearly 7 minute runtime.<\/p>\n

The next track has no such problems. In fact, GOD is probably my favorite song on the album. The beat isn\u2019t really like anything I\u2019ve heard in a Kendrick song, because it sounds like a mixture of <\/span>Autobahn<\/span><\/i>-era Kraftwerk and The Buggles\u2019 Video Killed the Radio Star. It\u2019s angelic, epic and feels like you\u2019re being carried on a cloud into the sky, which makes a lot of sense considering the song\u2019s title. The album closes with the true-life story, DUCKWORTH (the title refers to Lamar\u2019s real surname). The song begins with one of the few soul samples on the album, and it\u2019s from Ted Taylor\u2019s 1978 song \u201cBe Ever Wonderful.\u201d In fact, this song sounds like more of a throwback than this entire album, which makes sense because Kendrick is delving into his past on this cut. The story in question is how, once upon a time, the CEO of Top Dawg Entertainment Anthony \u201cTop Dawg\u201d Tiffifth almost killed Kendrick\u2019s father when he was working at a KFC. Kendrick spins a riveting story about how the man who owns the record label he\u2019s signed to almost prevented him from being a rapper in the first place, as Kendrick was signed to Tiffifth\u2019s label at the ripe old age of 15. He says, \u201cTwenty years later, them same strangers you make \u2018em meet again\/Inside recording studios where they reapin\u2019 their benefits\/Then you start remindin\u2019 them about that chicken incident\/Whoever thought the greatest rapper would be from coincidence?\/Because if Anthony killed Ducky\/Top Dawg could be servin\u2019 life\/While I grew up without a father and die in a gunfight.\u201d<\/span> Wow. That\u2019s nuts. And quite the way to end an album. But Kenny\u2019s not done. He tacks on a rapidly ascending chorus of backwards vocals, followed by a restatement of the album\u2019s opening line, \u201cSo I was taking a walk the other day\u2026\u201d It\u2019s weird and abstract, but it sounds great. He absolutely sticks the landing. <\/span><\/p>\n

All in all, I\u2019m not sure what to make of this album. Kendrick occasionally comes off as bored, and it lacks his singular voice and vision that I felt on his past two albums (by the way, I like his first album, <\/span>Section.80, <\/span><\/i>but it\u2019s clearly a stepping stone for his other releases). DAMN<\/em>\u2019s got a lot of thoughtful and punchy lyrics, but too often they don\u2019t register as politically urgent or personal enough to really hit home with me. One of the reasons I\u2019ve really taken to Kendrick\u2019s music over the past few years has been his willingness to not talk about things other rappers talk about, or at least doing so through a different lens. He falls into the trap of conventionality a few too many times on this album for my taste. However, the fact remains: there are some really great songs on here, and no real stinkers. There\u2019s just a glut of OK to pretty good ones. Yes, he deserves praise for constantly reinventing himself, but I have to be honest. It isn\u2019t what I wanted from him, but I also think it\u2019s just not as consistent an album as ones he\u2019s produced in the past. <\/span><\/p>\n

Overall, DAMN<\/em> is a pointed statement and a much-needed call to arms for the rap game at large. Even though the album has grown on me since its release, I can already sense some of my favorite songs getting stale. It simply doesn\u2019t have the wealth of unpredictability and deeply emotional introspection that his last two records had, but like always, I can\u2019t wait to hear what he does next. One thing’s for sure: this is an interesting album, replete with political jabs, Christian metaphors and narrative enigmas. Yet it lacks a distinct musical identity, and the Southern stylings don’t quite always match up with Kendrick’s flow. It doesn’t feel quite vital enough to be a purely political album, and it seems a little too cold and distant to be an examination of his psyche. Instead, it sits somewhat uncomfortably in the middle. <\/span><\/p>\n

It hasn’t been out long enough for me to really digest it all and offer a scholarly analysis of its lyrics and its place in our popular culture, but I don’t know if you’d want to read that anyway. Instead, I can only tell you about how the album made me feel. I’ll state it as simply as I can: DAMN\u00a0<\/em>is well worth a listen, but\u00a0I just can\u2019t shake the feeling that years from now, when I get a sudden urge to listen to Kendrick Lamar, I won\u2019t reach for this album first. <\/span><\/p>\n

\"\"<\/span><\/p>\n

3.5 out of 5 Geraldo Riveras <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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