{"id":118,"date":"2024-12-05T17:26:08","date_gmt":"2024-12-05T17:26:08","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2024-12-5-gnx-crashes-into-the-kendrick-lamar-discography-creating-a-welcome-return-for-modern-musics-prophet\/"},"modified":"2024-12-05T17:26:08","modified_gmt":"2024-12-05T17:26:08","slug":"2024-12-5-gnx-crashes-into-the-kendrick-lamar-discography-creating-a-welcome-return-for-modern-musics-prophet","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2024-12-5-gnx-crashes-into-the-kendrick-lamar-discography-creating-a-welcome-return-for-modern-musics-prophet\/","title":{"rendered":"\u201cGNX\u201d crashes into the Kendrick Lamar discography, creating a welcome return for modern music\u2019s prophet"},"content":{"rendered":"
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Graphic by Maddie Cohen<\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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by sam shipman<\/h1>\n<\/div>\n
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What sets Kendrick Lamar apart from Drake, Gracie Abrams, your second cousin, and frankly anyone else is when he releases a project, the world and the culture shuts up and listens. Lamar has been a hot topic with his fifty-seven total Grammy nominations and highly anticipated Super Bowl Halftime show. Still, the Prophet topped his own buzz on November 22nd\u2014 roughing up \u201cNew Music Friday\u201d by dropping GNX<\/em>, his sixth studio album with almost no warning. <\/p>\n

GNX<\/em> highlights the recent Lamar trends of unforgiving honesty accompanied by cruel disses on anyone and everyone. GNX<\/em> also restores Lamar\u2019s consistent ability to bring in mind-numbing vocal sampling and features so strong they\u2019re basically seamless\u2014gifts that were lacking on his recent series of singles.<\/p>\n

Lamar touches on a vast range of subjects in his life, including, but not limited to, dissing everybody (\u201cwacced out murals\u201d), his work ethic (\u201cgnx\u201d), and his relationship with creating music (\u201cgloria\u201d). The primary difference between GNX<\/em> and other major releases like To Pimp A Butterfly<\/em> (2015) or Mr. Morale & The Big Steppers<\/em> (2022) is that this record feels more like a collection of songs rather than a coherent conceptual project\u2013 a surprising shift from an artist often praised for his story-telling through a front-to-back listening experience.<\/p>\n

GNX<\/em>\u2019s step away from Lamar\u2019s usual routine is not a negative, and in fact, it arguably highlights a larger issue within the bubble of people listening to his music: Lamar\u2019s fans clearly expect a certain level of quality from him that is almost unreasonable to achieve with every major release he puts out. If someone complains that the record isn\u2019t good enough even though all twelve songs are strong cuts, it\u2019s clear who the problem is. But don\u2019t let the critics tell you what’s wrong and what’s right\u2014 on \u201cwacced out murals,\u201d Lamar directly calls out the people who have a fixed expectation of his music. <\/p>\n

\u201cThis is not for lyricists, I swear it’s not the sentiments \/ Fuck a double entendre, I want y’all to feel this shit\u201d<\/p>\n

Once you adjust to this era of Lamar, it\u2019s pretty simple to highlight what Lamar does differently on GNX<\/em> versus other projects. Projects such as Mr. Morale <\/em>hit a wide range of topics while carrying a centralized theme of self-reflection. GNX<\/em>, as discussed, is more about each individual track rather than a larger theme, so it does give the listener some whiplash if the front-to-back listening approach is taken. For instance, switches from \u201cgnx\u201d to \u201cgloria\u201d could be seen as sharp\u2014but it simply takes readjusting to a new listening style. This shift makes GNX<\/em> more \u201cmarketable\u201d rather than being his next magnum opus, an arguably much-needed shift in a time of steamy political discourse. Maybe everyone jamming out to \u201csquabble up\u201d is more approachable than your high school friend group listening to \u201cAuntie Diaries\u201d in a car together. <\/p>\n

Don\u2019t let the album\u2019s digestibility give the illusion that GNX<\/em> has any less depth. Lamar approaches most tracks on GNX<\/em> with an aggressive style reminiscent of older tracks like \u201cFor Free?\u201d on To Pimp A Butterfly<\/em> (2015), or \u201cRigamortis\u201d on Section 80<\/em> (2011).  While songs like these have faster flows than any cut on GNX<\/em>, this new record bounces between snappy verses and Lamar\u2019s playful pronunciation; annunciating words  like \u201cface\u201d or \u201ctaste\u201d:\u201cI feel good, get the fuck out my face \/ Look good, but she don\u2019t got no taste.\u201d (\u201csquabble up\u201d)<\/p>\n

Lamar pairs his playful energy with a coordinated lyrical depth that is commonplace on his other records. Cadence and concept-wise, \u201csquabble up\u201d is a mirror image of \u201cN95\u201d or \u201cHumble.\u201d<\/p>\n

GNX<\/em>\u2019s high-energy tracks meet the Kendrick Lamar album \u201cchecklist\u201d of creating bangers that will surely stick around on the radio for weeks to come. But these are balanced with poetic storytelling on songs such as \u201cgloria\u201d or \u201cheart pt 6,\u201d which force the listener to stop what they\u2019re doing and contemplate the plot that Lamar is weaving. <\/p>\n

The glue that holds both song mediums together is GNX<\/em>\u2019s vocal sampling and feature list. GNX<\/em> was produced by longtime collaborators like Sounwave and Mustard. However, strange and unexpected credits include Jack Antonoff, known for being a megaproducer for pop icons, but who has also dusted off his chops working with the likes of BROCKHAMPTON. Antonoff doesn\u2019t just mingle, sticking around to produce eleven of GNX<\/em>\u2019s twelve songs.  <\/p>\n

The record\u2019s greatest highlights show through in the warm synths oozing at the start of \u201cheart pt. 6\u201d or the horns blaring through the back half of \u201ctv off.\u201d These artful touches make Antonoff\u2019s work on The Tortured Poets Department<\/em> look like a  stain on his production catalog. The vocal sampling choices also add another fun element to GNX<\/em> that is missing from other Lamar records. Debbie Deb\u2019s 1983 song \u201cWhen I Hear Music\u201d is used in the first verse of \u201csquabble up,\u201d making it feel almost disco-eqsue. The most prominent vocal sample comes at the opening of the record on \u201cwacced out murals,\u201d which features Deyra Barrera, a traditional Mariachi Singer who Lamar noticed from her performance at an LA Dodgers game<\/span><\/a>. Barrera sings, \u201cI feel your presence here Last night And we start to cry,\u201d to kick off the record, and her entrancing voice appears several more times on the project.<\/p>\n

GNX<\/em> features a slew of other artists. While big names like SZA and Roddy Rich provide outstanding features on the record, Lamar has gathered a group of smaller LA-based artists to accompany him on this project; all are talented and elevated by Lamar knowing exactly how to play up their strengths. Case in point: the title track \u201c<\/em>gnx,\u201d where Lamar features Hitta J3, YoungThreat and Peysoh as they reminisce on their accomplishments and impact on art coming out of LA.<\/p>\n

GNX<\/em>‘s marketable assortment of 12 songs is destined to become a welcome addition to the Lamar catalog. And while Lamar is taking yet another victory lap, the only possible complaint about GNX<\/em> is that it falls short of a ridiculous parasocial image people have constructed of Lamar\u2019s art. But the Prophet will guide you, if you just forgo trying to figure out where GNX<\/em> ranks amongst Lamar\u2019s slew of masterpieces, and instead bask in the glory of the ride.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Forgo trying to figure out where GNX<\/em> ranks amongst Lamar\u2019s slew of masterpieces, and instead bask in the glory of the ride.<\/p>\n","protected":false},"author":1,"featured_media":119,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[21],"class_list":["post-118","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-album-review"],"yoast_head":"\n\u201cGNX\u201d crashes into the Kendrick Lamar discography, creating a 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