All that was missing was him! In a year overloaded with the return of behemoths, Taylor Swift to Beyoncé passing by Justin Timberlake or Billie Eilish, Kendrick Lamar comes to play spoilsport. Friday at 6 p.m., the American rapper released a surprise new album, “GNX”, two and a half months before his Super Bowl halftime performance. The legend is already in motion: according to rumors, even his label was informed at the very last moment. Even if it means disappointing Father John Misty, victim of a strange curse since the two American artists find themselves releasing their albums at the same time each time. It is thus with as much impatience as apprehension that we begin listening to this sixth opus, still disappointed by its predecessor. But forget the pretension and excessive ambition of the double opus “Mr. Morale & the Big Steppers”. On “GNX”, Kendrick Lamar goes back to basics, obviously too. 44 minutes, 12 songs and as many slaps.
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Kendrick shifts into sixth gear
“Wacced Out Murals”, the introductory song, sets the tone between Hispanic openness via the voice of mariachi singer Deyra Barrera, big synths, brass worthy of a gladiatoresque peplum and big urban beat. The mix of genres is still there, but Kendrick knows how to homogenize it perfectly. All before continuing with “Squabble Up”, a sort of logical sequel to his huge surprise hit “Not Like Us”, released earlier in the year where he violently clashes with Drake. In the same spirit, “TV Off” sees him proclaim loud and clear: “ All I ever wanted was a Black Grand National / Fuck being rational, give ’em what they ask for “. And lets out a “ Blackaaaaarrrrd » (in reference to producer DJ Mustard) already viral. Next to it, “Reincarnated” is crossed by a Latin atmosphere à la Santana, “Luther” and “Heart pt.6” rekindle the flame of retro R&B, and the enormous “Dodger Blue”, the top of the record, does not would not have been out of place on one of The Weeknd's latest albums.
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As such, “GNX” is a mix of genres that hits the mark, like its two main producers: Sounwave, the rapper's faithful collaborator, as well as Jack Antonoff, the architect of Taylor Swift's pop successes, Lana Del Rey or Sabrina Carpenter. Although he called on this New York hitmaker, it is nevertheless to his Californian roots that Kendrick Lamar pays homage throughout the album, distilling here and there nods to G-funk, Luther Vandross or Tupac Shakur, while recounting his past in the Compton neighborhood. If some try to detect new jabs addressed to Drake in the lyrics, the rapper often makes a bitter assessment of his career, and is particularly disappointed that only Nas congratulated him upon the announcement of his participation in the Super Bowl… which scandalized Nicki Minaj. “ I deserve everything that happens to me » he nevertheless insists on the simple but true “Man at the Garden”, the most personal piece (and one of the most successful) of the project.
Rich and sophisticated
But what is striking about “GNX”, more than the fine production work, is above all the voice of Kendrick Lamar, who changes register on each title. By turns mischievous, sensitive, fragile, dark, threatening or delirious, the man we nicknamed Kung Fu Kenny had never had so much fun, giving birth to as many songs as protagonists. Proof of this is the mischievous trap “Peekaboo” where he displays his flow with insolent ease. Also, and unlike his colleagues, Kendrick Lamar does without calibrated duets to boost the meters. Aside from SZA and Roddy Rich (known for his hit “The Box”), he gives a chance to newcomers, like Dody6, Lefty Gunplay or Hitta j3, who wreak havoc on “Hey Now” or “GNX”. A desire perhaps linked to the fact of being less in search of the hit than at the time of “Alright” or “Humble”…
Multiplying influences without ever getting lost in overly pretentious poses, “GNX” appears to be a new peak in Kendrick Lamar's career which, as always, deserves its share of listenings to be fully understood. In the wake of his surprise release, Tyler, the Creator shared an admiring message about X, who on his latest album “Chromakopia” describes himself as “ the biggest artist of [Los Angeles] after Kendrick “. Normal when it comes to the two best US rap records of the year!
Far from the pretentious “Mr. Morale…”, Kendrick Lamar regains his crown as the best American rapper on this powerful “GNX”, both sober and rich. Autopsying his native California with nostalgia and bitterness, the star offers an intimate and powerful portrait of his life and his country, a few months away from representing it at the Super Bowl. In the big leagues!
