Tracks like the hostile, funk-rap power anthem “ King Kunta” and the defiant, unrelenting “ Alright” provide needed boosts of energy in the middle of the project. Nonetheless, the less complex and catchier Lamar is still present. With each listen through K.Dot’s lyrics reveal new messages that may not have presented themselves previously. This intense density can also be seen dually as a strength. Cluttered moments like this require patience and multiple listens to fully grasp what is meant to be taken away by the listener.
#KENDRICK LAMAR PIMP A BUTTERFLY REVIEW FOR FREE#
The second track, “ For Free (Interlude)” is a jumbled, uncomfortable soliloquy voicing Lamar’s feelings of being used by old friends and record execs alike. Upon first listen through, you can find yourself wondering whether if what you’re listening to is a genius expression of personal emotion or the babblings of a mad man driven to the brink by fame and celebrity. Lamar spits bars relentlessly throughout, and at times, TPAB’s density can be overwhelming. The album, however, is far from an easy listen. Yet, slowly, as the project continues, the jazzy melodies reminiscent of a funky past seem to wrap you like a blanket, and by the final tracks you find yourself musically engulfed in a world where James Brown could still sit atop the Billboard charts. At first listen, TPAB ’s funk laced instrumentals are surprising, if not off putting. Lamar goes further to strengthen this vintage feel with features from George Clinton, frontman of the 70’s funk group Parliament, and notable soul legend Ronald Isley. Producer Flying Lotus ’s crew consisting of bassist Thundercat and saxophonist/producer Terrace Martin can be heard throughout. This retro sound found throughout is curated by the live instrumentation of Los Angeles’s neo-jazz movement. But the album’s sonics even regress past G-Funk, to a time before hip hop’s inception, when the genres of soul and funk dominated the industry. Dre ( TPAB ’s executive producer) reigned supreme.
Tracks like “ Institutionalized ” featuring Snoop Dogg sound as if they could be straight out of the golden age of West Coast G-Funk rap, when Snoop and Dr. To Pimp A Butterfly is a project sonically drenched in jazz and funk. He makes music that demands to be heard, and his latest LP is no exception.
The album, and Lamar’s greatest strength in general, comes from his ability to effectively convey his views and opinions by giving the listeners a front row seat to the experiences that shaped his current mindset. “A true friend never leaves Compton for profit,” raps Lamar from the perspective of a personification of his own self-doubts. One of the projects most personal tracks, “ u”, dives into the regret of leaving home and the idea of survivors guilt. While good kid played out like a movie, in which a teenage Kendrick comes of age, To Pimp A Butterfly is more of a jigsaw puzzle, with each track piecing together to convey the sentiments of a post-fame Lamar. Shattering Spotify’s previous record, the album was streamed over 9.8 million times the day following its release, and is already well on its way to platinum. So, it was no surprise that the internet nearly self combusted when Lamar’s second major-label offering, To Pimp A Butterfly, hit streaming services a week earlier than its original March 23rd release date. In just months the twentysomething MC went from a mid-level rapper with a modest cult following to one of the hottest stars in not just Hip-Hop, but the entire music industry. 2012’s good kid, m.A.A.d city rocketed Compton’s Kendrick Lamar to mainstream rap stardom, with Lamar’s lyrical and storytelling ability submerging the listener into his world as a youth on the verge of manhood. Such a span seems even longer when attempting to follow up an album that has been widely heralded as a classic by critics and fans alike. A two and a half year hiatus between albums seems practically like a decade in today’s age of music.