The Weeknd is continuing his assault on the mainstream and is starting to establish himself as a mainstay of the R&B world.
Having his steamy, sexy track, Earned It stuck in the head of every Fifty Shades of Grey fanatic has earned The Weeknd, born Abel Tesfaye, widespread acclaim and attention in 2015. The new video for The Hills is the latest in a string of new tracks from the Toronto native, and is keeping us fiending for even more. This new tune was first debuted as The Weeknd made appearances at festivals from SXSW to Coachella, and is riding a train of hype that is incredible for someone who has not released an album since the 2013 Kiss Land. The track itself had not been given an official release however until todays coupling with the music video. The Hills is a gloomy, spaced out track that is probably not the bedroom number that many are accustomed to, but there are all the signs of a sensual Weeknd tune, “I only love it when you touch me, not feel me/ when I’m fucked up, that’s the real me”.
The video itself is action packed, ablaze with fire, and shows that even a violent car crash will not stop The Weeknd from reaching an orgy with two beauties at the end of the video. Man, the things we do for love these days…
[youtube http://www.youtube.com/watch?v=yzTuBuRdAyA]
While it is still commonplace for mainstream hip-hop to deal with less than serious subject matter, the tides are turning for social and political influence amongst the rap industry, and the timing could not be better.
With the recent unrest in Ferguson, New York and Baltimore, it is extremely important that one of the most culturally significant art forms to the African-American population is used as a tool to voice the shifting mindset of the people.
Atlanta MC Killer Mike of rap duo Run the Jewels pushes the envelope when it comes to delivering politically relevant messages and challenging the foundation upon which the current racial injustice is built upon. RTJ are also known for their politically-charged lyrics and video clips, with the clips for Early and Close Your Eyes (And Count To Fuck) dealing with police brutality in confronting ways. On the much-acclaimed 2014 release of Run the Jewels 2, there are several tracks that attempt to open our eyes to the problems that plague the current social landscape.
Teaming up with another politically active heavyweight, Rage Against the Machine front man Zach De La Rocha for the jarring Close Your Eyes (And Count to Fuck), Run the Jewels delivered a visual message as well as the lyrics that flow from the lips of these established MCs. The video for the track makes for uncomfortable viewing; a black youth and a police officer wrestling between one another, each fighting for dominance and control, a microcosm of the current social hierarchy gripping the nation.
[youtube http://www.youtube.com/watch?v=PkGwI7nGehA]
“When you n*ggas gon’ unite and kill the police motherfuckers?” Mike asks on Close Your Eyes. This incredibly blunt statement speaks to the drastic nature of this situation, and the dire circumstances that young African-American men face. With incarceration rates at an all time high for black youth, it is vital that someone with the global reach of Killer Mike can speak to this injustice.
Killer Mike is incredibly self aware, and knows that any political message he spouts to the masses can be undermined by his name alone, particularly if they have no prior knowledge of his career and the industry itself. Addressing TV audiences, Mike (real name Michael Render) is quick to point out that his name is for killing microphones, nothing more, and nothing less. This may seem like an irrelevant point to draw attention to, but it is necessary to highlight his perceptiveness in these circumstances, and his desire to propel his message forward.
One of the most emotional and heart-warming musical images of recent times is a stirring speech delivered by Killer Mike after a grand jury chose not to indict a police officer accused of murdering an innocent African American boy in Ferguson. Although all the other musical acts cancelled their performance in protest, Run the Jewels took to the stage and through tears the group rallied the crowd in support of racial unity, and urged them to not stand for such injustice.
[youtube http://www.youtube.com/watch?v=MQs7CWKHM9w]
The track, Lie, Cheat, Steal further emphasises the fact that these youth can only be treated unfairly for so long, and that there is a dangerous situation at hand. The lyrics of the track reference civil rights icon Martin Luther King, stating, “I love Dr. King but violence might be necessary”. It has to be argued that in such a heated social and political atmosphere, it is unwise to incite violence. Although the circumstances are dire, surely it’s counterproductive and detrimental to the cause to rally support in such a violent way – despite what the history of the streets might tell us. Others would argue that a group of people can only be backed into a corner without retaliating for so long; unfair targeting and racial profiling is not a new concept, and that a backlash is surely inevitable.
Hip-hop has never shied away from tackling the racial and social issues that plague the current climate in the past, so why have we seen this influence diminish in recent years? Tupac Shakur, cultural and musical icon, was a beacon of social and political commentary in his music, for instance the tracks Changes and Ghetto Gospel, “I don’t trip and let it fade me, from outta the frying pan we jump into another form of slavery,” “Cops give a damn about a negro, pull the trigger, kill a n*gger he’s a hero.” These are jarring statements that took rap and hip-hop into the public sphere, and raised the concerns of an entire society.
Politically and socially influenced rap music has become more of a niche market in recent years, with rappers such as Immortal Technique establishing himself as an “urban activist”, and tackling everything from poverty to race and religion in his music. I for one welcome the re-emergence of political commentary in rap, and it would seem that modern artists are no longer afraid to weave their opinions into their craft. We have even seen rap mainstays such as Jay-Z being utilised within President Obama’s campaign to reach audiences and demographics that had previously been disengaged with political circles. Sure, Jay himself may be staying away from anything controversial these days, but it serves to show how much hip-hop has grown on general culture – meaning that now, more than ever, rappers can use the craft to share these opinions.
Kanye West is seen as an egotistical artist, but he has long rapped about social injustice, and more recently the impact of industry and brand names over our heads, proving that there is much more to his music than a self obsessed ego fest. From his earlier work, Never Let Me Down, “I get down for my grandmother who took my mama, made her sit in that seat where white folks ain’t want us to eat”, to his more recent tracks in New Slaves, “broke n*gga racing that’s that: don’t touch anything in the store, and it’s r*ch nigger racing that’s that: come in please buy more”, Kanye tackles everything from the civil rights movement to the wealth gap and socio-economic inequality in the United States, issues that remain relatively untouched in terms of social commentary within a modern context.
[youtube http://www.youtube.com/watch?v=JgtZHXEmvFQ]
Kendrick Lamar has tackled these issues through several of his releases, from his debut album Section.80, to his most recent project To Pimp a Butterfly. The track A.D.H.D is Kendrick highlighting the drug problem that his community faces, and the issues that stem from it, “my generation sippin’ cough syrup like it’s water”. To Pimp a Butterfly is a project teeming with historical and racially charged issues, dealing with the perils of success, a clash of cultures and the dealings of one young Compton rapper amongst it all. (Read our complete album review here for more on that.) Lamar has long spoken of his gratitude for his current place in the industry; he is well aware that his profile is something not to be taken lightly, and must be used to its full effect to spread the messages that he preaches so strongly in his music, from racism and drug use, to the perils of success in the music industry as a young African-American man.
[youtube http://www.youtube.com/watch?v=QjlFqgRbICY]
There is clearly always going to be radio-friendly rap, and hip-hop that appeals to the mainstream. Nobody is trying to stop or change that. However, currently, there’s a great need for some artists to use their position to recognise the plight of their people, ignite debate and spark political and social change. Essentially, making their voice heard. And we’re lucky that in and among the many commercial rappers emerging every year, there’s as many switched-on, politically-aware artists who are telling us exactly how it is. Groups like Public Enemy and NWA changed the game in the ’80s by telling the mainstream about life in the streets, and sharing a world that many of us would not otherwise be privy to. In the years since, hip hop has spiralled into countless other territories, and it’s people like RTJ and Kendrick who are keeping that flame alive. In the current digital sphere, these messages have a far greater impact, and their influence can be felt from so far away. I’m excited to see how hip-hop starts to shape the social and political nature of our time; this is the sound of the future.
Anticipation was high for my first listen through of A$AP Rocky’s third release. Every single that had been released prior to the album dropping was unique in its own way, and it was very clear that this Harlem rapper was going to experiment with his sound, and was pulling no punches when it came to production values. So here is one hip-hop head’s track-by-track breakdown of At.Long.Last.A$AP.
1.Holy Ghost (Feat. Joe Fox)
The story of Rocky and Joe Fox is nothing short of amazing. Homeless and trying to sell a mixtape at 4am, Joe Fox just happened to cross paths with Rocky, who invited him to the studio right away upon hearing his music, and would eventually lead to 5 features on this project alone. The first track of A.L.L.A highlights the alt/psych rock influence that is evident throughout the album, as Rocky’s trademark laid back flow weaves seamlessly amongst a guitar riff unfamiliar to a rap song.
2.Canal St. (Feat. Bones)
“I went from roaches on my bunk to red brooches on my cuff” spits Rocky as he details his rags to riches story. The sample and hook from Bones is perfectly suited to the haunting beat, and really sets a dark tone; the soft piano chords paint a stark and depressing image of growing up in the ghetto of Harlem.
3.Fine Whine (Feat. Joe Fox, Future and M.I.A)
This track is where Rocky begins to flex his muscle with the features of the album. I am not the biggest fan of Future, (I like to envision him as T-Pain for the modern era – solely manufactured for singing hooks), but he fits into this track really well, as A$AP himself is heavily auto tuned throughout. M.I.A’s British accent really steals the show on this track for me, and it’s refreshing to see her mixing it with the heavyweights of the rap game again after a long hiatus.
4.L$D
Much has been made of this track, from A$AP Rocky’s own acid use, to the experimental sound and direction the album would take. L$D shines through on this album as one of my favourite tracks after several back to back play-throughs. Rocky presents his psychedelic beat to perfection; it’s so easy to lose yourself in this track, as it just floats along with casual cool. The beat, the lyrics, the vibe of the song itself moulds together to create what is going to be a summer anthem for many. Certainly, it shows us that we’d probably really like an A$AP Rocky soul/R&B/psych album as much as we would a rap one, even though he “ain’t into makin’ love songs.”
5.Excuse Me
“They say wealth is in the mind and not the pocket”. In my opinion this is the best-produced song on the entire album. “I’ve never been this free when making music,” proclaimed Rocky in an interview with Complex earlier this year, and he has definitely taken that freedom and run with it; there is no other track in his entire discography that has a similar vibe or sound to Excuse Me.
6.JD
Yes, you heard right. That was James Franco at the start of the track, and it is here where the direction of the album begins to steer towards the heavier, trap-inspired beats that Rocky and the entire A$AP Mob are accustomed to. The beat is a chilling one, and Rocky doesn’t pull any punches when it comes to his lyrics here, “Schwarzenegger I, straight slaughter n*ggers…I want all you n*ggers dead”. The flow here is definitely more familiar with the previous releases of Long. Live.A$AP and Live.Love.A$AP, and shows us what we are in for as the album carries on.
7.Lord Pretty Flacko Jodye 2
FLACKO. JODYE. FLACKO. JODYE. If this is not stuck in your head for the rest of the week you probably haven’t listened to this album as long as I have. This track is a certified banger, and although it was the first track to be revealed from the album, it is one that has not left my music rotation. Short, snappy, in your face, LPFJ2 is the perfect song to showcase another experimental flow for Rocky, as his fast paced spitting plays perfectly off the beat.
8.Electric Body (Feat. Schoolboy Q)
Brand New Guy is one of my absolute favourite tracks from A$AP Rocky, and any song which showcases some back and forth rhyming between Rocky and Schoolboy Q is a winner in my books; these two just feed off each other perfectly. Let’s be real for a second though, Q absolutely steals the show and he unquestionably makes the song his own. As the low bass kicks in he spits a vicious verse, on a track that is sure to destroy many a car sound system.
9.Jukebox Joints (Feat. Joe Fox, Kanye West)
This track is a really nice break from the heavier beats on the album, as Rocky transitions back into a soulful and slower sound, with a real gospel vibe taking over. Kanye’s feature is honestly not his strongest, but as soon as the smooth sample on the track kicks in you can clearly see why Ye is featured on the song, as he delivers an extravagant and over the top verse – you can just picture him laughing in the studio for this one. I could be horribly wrong though and this could be the greatest verse of all time as Kanye coins his new nickname, “Ye Guevera” (Beware of an influx of Photoshop’s of Kanye on the face of the Argentinian guerrilla leader). It would be amiss for Rocky not to mention his love life somewhere on the track, and gives us a friendly reminder that he “did Azaleas from Australia”. Although I’m not exactly sure if that’s a good thing…
We couldn’t pass up the opportunity to post this. Thanks Reddit.
10. Max B (Feat. Joe Fox)
So far, this is my favourite song on the album. What I find most impressive about this album is the way that the feel of the album is not tarnished by the transitions between the psychedelic tracks and the heavier, trappy ones. This is a solid four minutes of Rocky going in on the beat, “This the kind of story that should make doves cry, fuck that, this the story that should make thugs cry”, and as the beat switches back into a chilling sample, “Did I fuck it up?” – before we are led, so seamlessly, onto the next track.
11. Pharsyde (Feat. Joe Fox)
Pharsyde is another track that really highlights the direction of the album; a soulful sample, a relaxed vibe and an innovative sound that is pushing hip-hop in a new direction. Some of the deepest lyrics on the album feature here too, and it’s tracks like this which really signify a shift in how seriously Rocky is taking himself. I can definitely see how many people would start to switch off at this point of the album, 18 tracks is an incredibly long album by modern standards, particularly in hip-hop. I think that the payoff is definitely worth it; this is an album that definitely takes you on a journey through sound and production experimentation.
12. Wavybone (Feat. Juicy J, UGK)
That’s right kids! Katy Perry did not miraculously create juicy J; he was actually a founding member of legendary rap group Three 6 Mafia (consider yourself informed). The horns that blare throughout the background of this track radiate a 90’s hip-hop feel, and Juicy J and UGK feel right at home here, with their old-school influence really making this a standout track for me.
13. West Side Highway (Feat. James Fantelrouy)
This is probably the one track on the album that doesn’t resonate with me from the get go; there is just nothing of real substance here, you can simply add it to the list of soulful songs. If there is one mark against Rocky as an artist for me, it is that he does not really have a clear message that he attempts to portray in his music; something I feel is becoming extremely important. If we look at the big artists in the rap game right now, like Childish Gambino, Vic Mensa, Run The Jewels and even Schoolboy Q, they all have a story to tell, and this is very apparent in their music, something I think is sometimes lacking in Rocky’s discography.
14. Better Things
I will forever love this song, if only for the Rita Ora diss that Rocky so blatantly delivers, and have, expectedly, dominated all headlines surrounding this album since its release. Because that’s what’s important, obviously. Let me quote it in its full glory and entirety: “I swear that bitch Rita Ora got a big mouth, next time I see her might curse the bitch out. Kicked the bitch out once ‘cause she bitched out, spit my kids out, jizzed all up in her mouth and made that bitch bounce”. Ouch.
15. M’$ (Feat- Lil’ Wayne)
I was in love with this song before the album had released, although I was sceptical whether a Weezy feature would add to this song or make me switch off halfway through, and you cannot blame me after his recent track record. Once I heard Smuckers from Tyler The Creator’s Cherry Bomb (which we reviewed here) I had hope, and Lil’ Wayne delivered! 2015 is becoming quite a rejuvenating year for this rap game veteran, as he delivers a verse that partners the beat perfectly. Rocky and Wayne make one hell of a combination here, with that trap sound, which by now almost feels nostalgic, rearing its head yet again.
16. Dreams (Interlude)
The interlude is in a fairly odd place as the third to last track, however I like to think that it is setting up a serious tone to the finale of the album. The glassy piano brings the haunting feel back into the project, and puts Rocky in a position to pay homage to his fallen friend, A$AP Yams.
17. Everyday (Feat. Rod Stewart, Miguel, Mark Ronson)
This is really the only radio friendly that I can see on this album, and this is definitely the risk that an artist takes with an experimental album. The sample is infectious to say the least, and Miguel puts his own soulful spin on it. Rocky really chose the singles for this album carefully; he provided a clear indication that diversity is one of the key characteristics of this album. Ronson’s production is reminiscent of his work on Action Bronson‘s latest album – and a pretty clear indication that he knows his way around a hip hop beat.
18. Back Home (Feat. Mos Def, A-Cyde, A$AP Yams)
Rocky closes out the album perfectly in my opinion. The cover of this album itself is a tribute to A$AP Yams, whose tragic death had a profound effect on Rocky as a person and as an artist. The beat on this track is fantastic, and really mirrors the old school vibe that “Wavybone” created. Mos Def appears on this track and does not disappoint and creates a really special moment, the young blood of New York hip-hop collaborating with one of the fathers of the genre. It is rather bittersweet hearing Yams close out the album, but it is nonetheless a touching and a fitting way to end this album.
All in all, At.Long.Last.A$AP is an innovative, experimental and forward thinking album that has cemented itself as my favourite album of 2015 already. This is a bold statement, but I feel that there is so much on offer in these 18 tracks, soulful beats, heavier trap inspired sounds, all backed by precise production which really elevates A$AP Rocky’s sound to the next level.
Bad Blood, Kendrick Lamar‘s new collaboration with pop starlet Taylor Swift, has hit the top spot in the Billboard charts.
Strangely enough, this is Kendrick’s first ever #1 hit.
It’s hard to believe that he’s never had a #1 single, but the truth is that biggest rapper in the game right now is yet to have his own track top the charts. So what better way to get a little more mainstream appeal than to jump on board with one of the most marketable artists right now in Taylor Swift?
Billboard Hot 100: #1(+52) Bad Blood, @taylorswift13 Feat. @kendricklamar [4 weeks]. *her 4th #1 single*
— Chart News (@chartnews) May 27, 2015
Besides T-Swizzle dancing awkwardly to Kendrick at the Billboard awards, it would seem that these two have struck up quite the partnership, and Kendrick is already reaping the benefits. Calculated move or not, Kendrick is currently receiving the best of both worlds. On one hand, Kendrick is free to experiment with his sound, and produce fantastic concept albums in the form of Good Kid M.a.a.d City, and the more recent To Pimp a Butterfly. On the other hand, Kendrick is gaining more and more exposure on a mainstream level, allowing him to stay true to his craft and not necessarily feel the need to compromise his style just to appease the masses. What comes next? Only time will tell.
While there is far more to music these days than simply chart position, it is still extremely hard to believe that Kendrick has not graced the top spot. While obviously a majority of his tracks are not radio friendly, the funk influence in his music has created incredibly catchy songs that are yet to be fully embraced by the mass market. It is only a matter of time before King Kendrick takes his rightful place atop the charts.
[youtube http://www.youtube.com/watch?v=QcIy9NiNbmo]
It is not often we see artists themselves taking to fan forums to set the record straight. Pusha T has delivered a message of biblical proportions (literally) to fans on the hip hop forum Kanyetothe, the go-to destination for any Kanye fan. Addressing the recent leak of a track called All American, Pusha felt the need to keep the fans, or as he puts it “precious disciples”, informed about the direction that he will be taking for his upcoming project.
“This leaked snippet, All American, has nothing to do with the masterpiece King Push…I’m only delivering “God Level” material to my beloved children.” It would seem that Pusha has been spending a little bit too much time around Kanye West, as these religious references get even weirder as the post continues. “Only organic nourishment for my children, you all shall soon feast”. Should we be worried that King Push could have it’s title changed to something a little more holy, perhaps, The one true embodiment of Christ, Push? At this stage I would not be surprised, especially considering there is an album out there entitled Yeezus. It will be interesting to see if Pusha continues to echo the sounds we have been hearing on recent tracks such as Lunch Money.
It is rather strange for an artist to go to such lengths to tell us that a snippet is not included on the final project; perhaps the direction and sound of the album is drastically different to what we have been hearing so far. Signing off on his message, Pusha urges fans to “Be patient, I know many of your idols have let you down, I have not! Be blessed…”
Praise be to Pusha. You can find the original post here.
[youtube http://www.youtube.com/watch?v=axYiOWGfs48]
It is a sad day for your inner rebellious teen skater. It would appear that today Tyler, the Creator has finally said goodbye to the Odd Future group, ending the presence of the rowdy group of teenagers who burst onto the scene, wreaking absolute havoc for fans, media, and the music industry in general. Their rambunctious antics and carefree attitude will never be forgotten.
Tweeting out to his fans early this morning, Tyler stated rather solemnly, “Although it is no more, those 7 letters are forever.” Those 7 letters are of course the moniker adopted by the group, Odd Future Wolf Gang Kill Them All (OFWGKTA). The news itself is not entirely surprising, as the group had long been drifting in a multitude of directions, with some of the members going to far greater success than they had with Odd Future.
As we saw from his latest album, Earl Sweatshirt is clearly focusing on a dark and depressing style of music; Frank Ocean has established himself as one of the most promising names in R&B (and reportedly has a new album out soon,) while groups such as MellowHype are heading in a different direction entirely. Of course Tyler himself has branched out into many a side project, recently dropping his third album, and seems heavily focused on the production aspect of music. There is simply too much going on individually for the group to exist anymore.
although its no more, those 7 letters are forever.
— Tyler, The Creator (@fucktyler) May 28, 2015
It’s time to pull up your multi-coloured odd socks, grab your skate deck littered with pictures of cats, and pay tribute to Odd Future one last time. Here are a few of my own personal favourite Tyler, The Creator/Odd Future moments to get you in the mood:
[youtube http://www.youtube.com/watch?v=OG1yX7NgMcI]
[youtube http://www.youtube.com/watch?v=fzi24Nssiow]
If you’ve never done acid before, don’t fret. A$AP Rocky, (or Lil’ B, depending on who you want to believe (TYBG)), has just dropped (pun semi-intended) a video clip that has made me feel like I am seasoned veteran of the hallucination game. LSD is a track that definitely took me off guard, and represents a whole new direction from this braided-haired superstar. There is a clear R&B influence throughout, with Rocky giving us his best Miguel impersonation, crooning his way through a stunted beat. In what is sure to become a new stoner anthem, LSD opens with a chilling guitar riff, and as we hear his trademark adlib, Rocky launches into a love song with psychedelic vibes.
THANK YOU BASED GOD
— LORD FLACKO JODYE II (@asvpxrocky) May 20, 2015
After hearing the two most recently released tracks from the up and coming album, At Long Last A$AP, (A.L.L.A), I am now even more excited to discover the other ways in which Rocky has developed his sound and flow. From the Rod Stewart-sampling Everyday, to the upbeat, trap-inspired M’$, A$AP Rocky is showing off serious versatility. In these three tracks alone, there’s more variety and depth than his two prior albums.
I have to wonder if many of his previous fans will appreciate this experimentation in sound and flow, or if it will be met with the inevitable backlash that comes with any well-known artist tweaking their style. In the current hip hop climate, I for one welcome any kind of exploration in terms of musical styles; the more variety I have at my fingertips, the better. With opinions and feedback slowly starting to trickle through after the listening party at Red Bull Studios in New York City last night, the anticipation in the lead up to the release is rapidly growing.
After A$AP Rocky single-handedly destroyed my Instagram feed last week with a plethora of grey, white and black images (to be fair, it did end up being a pretty freaking awesome mural), he had plenty of making up to do. It’s safe to say that I forgive you Rocky, let’s never fight again.
At.Long.Last.A$AP drops June 2 via A$AP Worldwide and RCA Records.
[youtube http://www.youtube.com/watch?v=yEG2VTHS9yg]
In a recent interview with Pigeons and Planes, veteran west coast rapper and weed aficionado (not to mention anti-gun campaigner and, uh, unique entrepreneur,) Snoop Dogg has brought into question the current state of the hip hop game, with some rather blunt (no pun intended) remarks regarding his fellow rappers – mostly Drake, arguably the most successful commercial rapper at the moment. In promoting his new album, Bush, released May 12th, Snoop spruiked his own unique style, stating that he doesn’t follow the current trend of the music industry, “I love Future. Migos. I love all of them. Drake. They my niggas, but I don’t know who is who when the record is over. When I came out as a rapper, everyone had their own style.”
While Snoop himself has never been afraid to experiment with his sound, most notably with his venture into the world of reggae as he briefly blessed the world with the presence of “Snoop Lion,” the idea of biting styles has generally been lost amongst the current state of hip hop, with many artists finding success with similar styles and flows. It does not bode well with the older generations of hip hop, with Uncle Snoop firmly at the forefront, “If you sounded like someone else, that word was called biting. You biting my style. You biting my shit.”
It is interesting to note that Snoop did not mention his fellow West Coast rapper Kendrick Lamar in these comments, who had recently included Snoop on his highly acclaimed release To Pimp a Butterfly, giving the legend of rap a rebirth into the new mainstream. Were these comments just an attempt to draw attention to his new release? Or perhaps the wise old men of hip hop just want to see the music go back to roots, with pioneers such as Kendrick Lamar leading the way.
It’s worth noting that in spite of these comments and certain rappers out there, there are as many new styles of hip hop emerging as ever. Alongside Lamar, artists like Childish Gambino, Chance The Rapper, Action Bronson, Run The Jewels, Vince Staples, Earl Sweatshirt and Schoolboy Q to name a few, have made no secret of their unique flairs, their original flows, blazing production qualities (often infused with electronic music) and the widely varied subject matter of their music. While some artists, like those called out by Snoop are attempting to follow on from pre-existing styles and sounds, there’s just as many rappers doing their own thing. And it’s only a matter of time before they receive the same recognition as the Drizzys out there.
Hot on the heels of the release of To Pimp a Butterfly, the Kendrick Lamar hype train rolls on as he debuted new music over night at the Regent Theatre in Los Angeles. Performing with Bilal, who appears on Kendrick’s latest project, the rapper launched into another furious display of rapping, with the jazz and soul direction of his music still apparent as ever. Reportedly titled Money Over Love, the track features a heavy bass guitar and piano backing, as Kendrick bounced around on stage and showcased his dancing skills (or lack thereof).
For an artist who commonly goes through long lulls in terms of releases, it is a welcome relief to see Kendrick continuing to jump on new tracks. Even if the song turns out to be credited to Bilal, here’s hoping that Kendrick does not disappear from our radar any time soon.
While you wait anxiously for a CDQ version, you can check out some snippets of the performance here:
[youtube http://www.youtube.com/watch?v=lJpENC2M8hY]
Now that the dust has settled on Kendrick Lamar’s critically acclaimed To Pimp a Butterfly, it’s only natural that every concept and theme established throughout the album is dissected, dismantled and analysed with a fine tooth comb. While the album itself stands on its own as a feat of music, it is the social and racially contextual messages that propel the project forward into unchartered waters.
Mortal Man is one of the tracks that I keep coming back to, for a multitude of reasons. The song itself serves as a fitting ending to the story behind the album, but also raises several questions about the plight of a young African American man trying to succeed in a cut-throat industry. Kendrick poses a recurring question to his audience, “When shit hits the fan is you still a fan?” challenging the dedication of those around him, and the need for dedication in the environment that he struggled in for much of his own life.
The poem that seamlessly weaves the album together concludes at the end of this track, as Kendrick portrays a hypothetical interview with cultural icon and arguably the modern era’s most influential rapper, Tupac Shakur. To search for snippets of Tupac interviews and create a chilling moment speaks to the innovation and ingenuity behind Kendrick Lamar’s musical process. As Kendrick ends the recital of his poem, the eagerness for appreciation and recognition from Shakur is apparent; we almost forget that Kendrick is the king of the current rap game; here he is, a star-struck boy from Compton, interviewing his idol. Concept albums are sometimes hard to revisit in terms of replay value, but Kendrick leaves the audience with a sense of helplessness, and as he repeats “Pac?” over and over again we are offered a haunting reminder of the mortality of the industry. Even the most influential rapper, Tupac Shakur, was not immune to the problems and issues that face young African-American men, and this is the tool that Lamar uses to emphasise the stark nature of this environment he and his fellow youth are facing. Success, fame and wealth do not act as a safeguard from these perils, in some ways they are exacerbated.
Mortal Man is a touching track that preaches the message that unity and respect in the current climate is paramount, and that a lack of recognition amongst the African-American community will only lead to worse conditions and social environments. If we are to take any message from To Pimp a Butterfly, it is the poem that lays foundation behind the music;
“I remember you was conflicted
Misusing your influence
Sometimes I did the same
Abusing my power, full of resentment
Resentment that turned into a deep depression
Found myself screaming in the hotel room
I didn’t wanna self-destruct
The evils of Lucy was all around me
So I went running for answers
Until I came home
But that didn’t stop survivor’s guilt
Going back and forth trying to convince myself the stripes I earned
Or maybe how A-1 my foundation was
But while my loved ones was fighting the continuous war back in the city, I was entering a new one
A war that was based on apartheid and discrimination
Made me wanna go back to the city and tell the homies what I learned
The word was respect
Just because you wore a different gang colour than mines
Doesn’t mean I can’t respect you as a black man
Forgetting all the pain and hurt we caused each other in these streets
If I respect you, we unify and stop the enemy from killing us
But I don’t know, I’m no mortal man, maybe I’m just another nigga”