On Nov. 22, hip-hop star Kendrick Lamar released his first album since leaving longtime labels Top Dawg Entertainment and Aftermath Entertainment, titled “GNX.” In addition to Lamar’s masterful lyricism examining his pride and grit, the album is filled with instrumentals of iconic West Coast hip-hop and angelic choral vocals by mariachi singer Deyra Barrera.
Amidst Lamar’s newfound buzz following the album’s surprise release, much of the success was shadowed briefly after it was reported that fellow rapper Drake had filed a lawsuit against the label Universal Music Group on Nov. 26. Drake alleged that UMG used bots to boost the streams for Lamar’s concluding diss track against him “Not Like Us,” favoring Lamar. That news was quickly overshadowed by the announcement of Lamar’s album-promoting tour “Grand National Tour” with R&B artist and former labelmate SZA on Dec. 3, exactly a week after the filing of the lawsuit.
The album opens with “wacced out murals,” a track with a dark yet heavy-hitting melody where Lamar seems to double down on the criticism and media chatter that he has received and witnessed over the past year. Back in March, Lamar officially called out Drake, igniting what has been described as one of the biggest rap beefs in recent years.
Drake, however, is not the center of attention here; rather a small part in Lamar’s larger reflection. Within the track, Lamar touches on many different recent topics of pop culture conversation, including his much-debated selection as the headliner for the upcoming Super Bowl Halftime Show. In the track, Lamar raps, “Used to bump ‘Tha Carter III,’ I held my Rollie chain proud / Irony, I think my hard work let Lil Wayne down,” referencing Lil Wayne’s public response to the announcement on Instagram on Sept. 13.
“It hurt a whole lot. I blame myself for not being mentally prepared for a letdown and for automatically mentally putting myself in that position like somebody told me that was my position,” Wayne stated. “But I thought there was nothing better than that spot and that stage and that platform in my city, so it hurt.”
In the track, Lamar goes on to discuss his own feelings about various other controversies that occurred since his last release, “Not Like Us,” on May 4 — including the title of “wacced out murals” being a reference to the mural of Lamar in his hometown of Compton that was vandalized on Sept. 8.
The album embodies two very distinct vibes — soft and hard. Lamar blends the soft and introspective with the hard-hitting cultural commentary to create a cohesive blend, emulating something like Lamar’s personal journal entries.
Tracks like “hey now” and “tv off” feature his signature lyrical intensity that captivates listeners, making them feel empowered in response to the heavy percussion, bass and trumpets. The rhythm of these songs follows a faster tempo that gets the heartbeat racing as Lamar attacks the beat with hard-hitting lyrics.
Despite the hype these hardcore rap songs may evoke, they also deliver a powerful narrative that expresses Lamar’s anger toward the injustice he has faced in the industry. In “tv off,” he raps, “with a bone to pick like it was sea bass,” revealing the pride he has earned through his contributions to the music industry. It is because of this too that he is able to call out the rebellious criticisms of the music industry. These lyrics — steeped in anger, pride and judgment — command listeners’ attention and reaffirm that Lamar is a powerful rapper because he is not afraid to speak the truth.
As usual, Lamar did not forget to pay homage in some way to the culture that he represents and adores. Tracks like “squabble up” and “dodger blue” offer two different views of Los Angeles and West Coast hip-hop culture on their own. The track “squabble up,” named after a popular Southern California dance move called “the Squabble,” Lamar proceeds to slide on the track’s West Coast-style beat mixed with a sample of Debbie Deb’s “When I Hear Music.” On the other hand, “dodger blue” is a melodic ode to Los Angeles infused with LA references and the signature West Coast low-rider sound.
Throughout the album, Lamar features California rap elites, some of whom may be considered underground to those not from the state — including Dody6, Lefty Gunplay, AzChike, Roddy Ricch and more.
Songs like “luther” and “gloria” encapsulate a more mellow vibe, demonstrating the more introspective aspect of Lamar’s narrative. Lamar introduces “luther” with a sample from “If This World Were Mine,” covered by Cheryl Lynn and Luther Vandross in 1982. This introduction sets the stage for a journey of what-ifs, showcasing Lamar’s hopeful intentions to use his power, money and fame to protect a loved one.
The perspective he offers in this song invites listeners to resonate with his story in a more romantic, introspective light, carried by lo-fi beats. Lamar is known for his playful musicianship and experimentation, which shine through in his contrasts of hardcore rap with lo-fi beats to embody the complexity of his own view on the music industry.
Songs that prominently embody the signature ‘90s West Coast hip-hop vibe include “reincarnated” and “heart pt. 6,” where Lamar reclaims the sequential song title following Drake’s release of his own “The Heart Part 6” during the height of the duo’s feud. With catchy, groovy riffs that people can dance to, these tracks make the album a party that is both playful and easy on the ears.
All of Lamar’s samples throughout the album are from ‘90s songs. Tupac’s “Made N*ggaz” appears on “reincarnated,” SWV’s “Use Your Heart” is featured on “heart pt. 6” and many more influences are interwoven across the project.
While many see “GNX” as the conclusion of an explosive era in Lamar’s career and the rap genre, others speculate if this was rather a continuation, awaiting Lamar’s next move. For now, the rapper is scheduled to headline Super Bowl LIX on Feb. 9 in New Orleans.
Cameryn Nguyen is an Arts & Entertainment Staff Writer. She can be reached at camerynn@uci.edu.
Makyla McLeod is a Staff Writer for the fall 2024 quarter. She can be reached at msmcleod@uci.edu.
Edited by Lillian Dunn and Jaheem Conley.