![]() Production wise, this song is actually a very nice addition to the album, but it is Kendrick’s input in this song that actually makes this song a little generic sounding and bland. ![]() with sirens firing off over another fiery instrumental from WiLL Made-It and some of the most violent lyrics Kendrick has released in a very long time.ĭAMN’s first dip in quality happens on tracks 3 and 4 unfortunately, with “YAH.” and “ELEMENT.” Instrumentally, “YAH.” is dreary and hazy with a slight boom bap feel to it. The first half “XXX.” combats “DNA.” for the most intense moments on DAMN. The result is an immense amount of head bobbing and adrenaline flow. This song has a simple, booming beat with a little piano lick over it while Kendrick does what you expect him to do, which is spit. “HUMBLE.” is simple in its structure, but effective. The other two songs featuring this duo are “HUMBLE.” and “XXX.” And if you were wondering if those songs are heavy bangers, well of course they are. The collaboration of producer Mike WiLL Made-It and Kendrick works amazingly throughout this album. starts with as big of a splash as it could possibly start with. And just when this song cannot get any more batshit, a beat change hits with bass that hits like a cylinder block to the face. “DNA.” is Kung Fu Kenny at his most ferocious with razor sharp precision in flow and hefty swagger in delivery. Because when you do hear it, you will most likely be doing something along the lines of this. Samples of pundits on Fox News criticizing (and misinterpreting) Kendrick’s “Alright” swell in and introduce us to the second track “DNA.” Ladies and gentlemen, if you have not heard “DNA.” yet, I urge that you do so in a safe space, away from fragile objects and at least an arm’s length away from other people. The track “BLOOD.” opens up this album with a blind woman killing Kendrick after he tries to help her. where Kendrick unfortunately falls victim to bland radio-music hit trends, which results in some of the worst music that Kendrick has put out ever. For the majority of the album, Kendrick is able to triumph over the bland trap clichés and produce some of his sharpest-cutting, hardest-hitting, bangers and some of his most thought provoking songs he’s ever put out. While I am very unimpressed by the majority of trap artists and trap music in general, I was excited to see where someone with an immense amount of creativity like Kendrick can take this otherwise stale genre of music. It is also much more influenced by current music trends like trap and alt-R&B. As opposed to the grand, funk and jazz infused sound that he mastered on TPAB, DAMN. On DAMN., Kendrick once again reinvents himself and his sound. Needless to say, when it was announced Kendrick Lamar would release an album in April, I was very eager to listen (understatement of the year). There are very few rappers right now that can stand toe-to-toe with Kung Fu Kenny when accounting for lyricism, creativity in flow, rhyme schemes, and delivery, and most of all, constructing albums with clear, conceptual focus. To me, Kendrick is one of the most creative, consistently brilliant, and well-rounded rappers in the game right now. ![]() city, To Pimp a Butterfly) and releasing a collection of throwaways from TPAB that still managed to be better than most rappers’ studio albums. Kendrick Lamar is on one of the hottest album streaks in the history of rap right now, releasing three critically claimed albums in a row (Section.80, good kid, m.A.A.d. ![]()
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