44 Minutes of greatness

 Kendrick Lamar - GNX

The album of the year is something I’m reluctant to decide before the year’s end. Music, unlike any other medium, thrives on time. Only film comes close to benefiting from time in a similar way. Just last month, I wrote in my review of Chromakopia that I’ve always needed time to fully appreciate Tyler, the Creator’s projects. And once again, that’s been confirmed. Yet, as is so often the case, there are always exceptions. And one such exception occurred on Friday, November 22, 2024, at exactly 7:00 PM. Because none other than Kendrick Lamar, my GOAT, dropped new music. And naturally, after just one listen to the mixtape, those four magical words were on the tip of my tongue:
Album. Of. The. Year.

For 44 minutes, I’m captivated by pure West Coast beats across twelve tracks. A selection of instrumentals that mark a definite shift for a Kendrick Lamar album. While the approach here leans modern, it draws from the sound of L.A.’s current underground scene. Packed with hard-hitting 808s that are simply a joy to listen to. It’s crazy to think that after nearly 14 years in rap, this man can still surprise me. New vocal ranges, new flows, and new beats. Though "new" definitely deserves quotation marks here. Everything feels like a blend of euphoria, 6:16 in LA, and Not Like Us. There are exceptions, leaning more towards rhythm and blues, but this hybrid sound, as great and enjoyable as it is, introduces a slight repetitiveness to the songs. On the first few listens, this doesn’t stand out and still doesn’t bother me much. But the fact that some flows from Not Like Us are recycled across three tracks does come off as a bit lazy.

What’s anything but lazy, however, is the mixtape’s lyricism. The performance on the intro track, wacced out murals, is nothing short of grandiose. Just how Kendrick enters this epic atmosphere, backed by a Mexican sample and string sounds, followed by heavy basslines, is stunning. Lyrically, the mixtape stands in stark contrast to Mr. Morale and the Big Steppers. While two years ago, he declared, “I’m not your savior” here it’s the exact opposite. On man at the garden, he portrays himself as a legend, the greatest of all time—and rightfully so, in my opinion. That he has the right to call himself that has been clear for a long time. And once again, this album proves it. 

On reincarnated, he raps through the stories of two Black musicians while paying homage to 2Pac with a phenomenal sample. Meanwhile, heart pt. 6 feels almost like a farewell to his career. The lyrics suggest that his active career may soon end and that he plans to operate more behind the scenes. This would also explain the choice of features. A platform is given to many smaller artists here, and they handle it impressively. No feature disrupted the flow; rather, they were excellent complements to the overall work.

At its core, though, the album is one thing above all: pure hip-hop. Forty-five minutes of sheer entertainment, without requiring much thought. Just turn off your brain, put on your headphones, and enjoy this tape.

I haven’t yet addressed the proverbial elephant in the room, though. There’s no discernible overarching concept. Sure, the Spanish poem interwoven throughout the album acts as a narrative thread, but it’s a very thin one—perhaps the hip-hop culture itself ties it all together. But beyond that? No intros by Whitney Alford, no “I remember you was conflicted,” no skits at the end of tracks. Just one song following another. This isn’t something I expected from a Kendrick Lamar album. However, I somehow feel like another project is coming in the near future. The hints are almost impossible to ignore. Just the new snippet in the trailer for GNX, which didn’t make it onto the album, should be proof enough. Until then, though, I’ll savor this project to the fullest. Not a single track on this record feels subpar to me.
And yes, I’ve already pre-ordered the physical edition.