The duality in Kendrick Lamar’s catalog has been even more prevalent in his recent outings. His albums, from Section.80 to Mr. Morale & The Big Steppers, have often explored the cause-and-effect of his surroundings. good kid m.A.A.d city detailed his upbringing in Compton and the things he’s witnessed and experienced that informed his character. To Pimp A Butterfly, on the other hand, delved into survivor’s remorse as his star power shined globally. Through these albums and beyond, the essence of the West Coast continuously permeated each project. However, the influence of Los Angeles has never been more pronounced than it is on his sixth studio album, GNX. After a triumphant summer that saw Kendrick Lamar unify the streets of Compton on one stage and singlehandedly change the perception of hip-hop’s biggest star, GNX is a return to the stomping grounds that celebrates the past, present, and future of Los Angeles.
Let’s be clear, though: GNX isn’t a victory lap, nor is it entirely dedicated to doubling back on his feud with Drake, even though that energy is felt across every song. More than anything, this album ushers in a new era for Kendrick Lamar where the weight of critical acclaim and numbers feel secondary to his creative vision, especially as his first post-TDE project under pgLang. With that in mind, the album begins with a giant middle finger to the industry and those who’ve shed an ounce of doubt on him. The sparse horns and glitchy synths of “wacced out murals” become a canvas for Kendrick to release the tension from the months of narratives that followed his victory against Drake and those who’ve tried to smudge his legacy. It’s a broader painting of the potential implications of the feud; a retort to critics; and a declaration of his coveted position at the top of the food chain. Sonically and thematically, “wacced out murals” is as blistering as it is cathartic, tying in everything from Snoop Dogg co-signing “Taylor Made Freestyle” and the allegations from “6:16 In L.A.” to Lil Wayne’s rather entitled reaction to losing out on the Super Bowl Halftime show. Despite a history of showing love to those who came before him, it’s a moment where he forces the dynamic to shift between himself and those who’ve influenced him.
Still, the core of the album could be best summarized in one line in the intro: “F*ck a double entendre, I want y’all to feel this sh*t.” Although there are more than enough double entendres to sink your teeth into, GNX largely carries the atmosphere that he set this summer with “Not Like Us.” “squabble up,” the highly anticipated snippet from the “Not Like Us” music video, delivers on all fronts–perhaps, one of the few snippets in hip-hop history that lived up to its hype. It’s a vibrant and animated West Coast banger that links its present form with nods to dance music that you would likely hear Snowfall’s Skully listening to during an Angel Dust trip and West Coast’s rich musical tapestry, thanks to the sample of Debbie Deb’s “When I Hear Music.” Similarly, “hey now” ft. Dody6 transforms a husk and bassy production into a sinister dance number with a nod to D4L’s “Scotty” for an immediate stand-out.
For as much as this album departs from Kendrick’s usual theatrical concepts, it doesn’t lack in storytelling qualities. “Reincarnated” is a masterclass in storytelling, where he masterfully channels Tupac Shakur’s cadence while detailing the story of the devil through three musicians. Then there’s the outro, “gloria,” an “I Used To Love H.E.R” homage that personifies Kendrick’s pen as a woman. Ultimately, GNX is a mixed bag that encapsulates variety without losing its cohesion. As much as these records, along with “luther” ft. SZA (who also appears on “gloria”), and “dodger blue,” provide lush soundscapes and velvety melodies that cut through the boisterous production across the album.
Though there are plenty of ways to dissect this album, its most important characteristic is its commitment to uplifting the West and carrying on tradition. The ecosystem of Los Angeles’ rap scene is vast and complicated with street politics, especially as burgeoning talents across the city began making waves. The inclusion of artists like Lefty Gunplay, whose four-word outro is just as much of an earworm as Kendrick’s new drop for DJ Mustard on “tv off,” Peysoh, and Deyra Barrera, emphasize the theme of West Coast unity, especially among Black and Brown communities.
As Kendrick Lamar enters this new chapter in his career, he ensures that he ties up loose ends. “Heart pt. 6”–a dig at Drake’s failed attempt to hijack a series dedicated to Kendrick’s growth–provides fans with the type of closure and explanation that they’ve been longing for, even before Mr. Morale & The Big Steppers. It’s a vulnerable and honest flashback to Top Dawg Entertainment’s humble beginnings that detail their journey together but more importantly, his decision to leave the label to establish pgLang alongside Dave Free. While fans might be saddened that a Black Hippy album isn’t in the cards, “heart pt. 6” sheds light on Kendrick’s aspirations. But that’s just it–Kendrick’s growth and elevation as an artist and business requires sacrifices, even if it comes at the cost of the expectations that his fans hold over his head. GNX is a glorious first leap in this chapter of Kendrick’s career where he embraces the next generation of stars, proudly carries the torch for the West Coast, and demands the respect that he’s earned.
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