But Lamar has found his musical niche and it’s in hip-hop psychedelia. If good kid wavered, it was because the beats were ordinary. Notably, last year’s buoyant Isleys-sampling hit i appears here in a radically altered form, counterpointed with the darker u. As always, the personal is intrinsically political. In Hood Politics, which borrows from folkie Sufjan Stevens (!), Lamar confesses to experiencing “survivor’s guilt”. He feels “conflicted” and riddled with self-doubt over his supposed failings as a black role model. Like Drizzy, he ponders achievement and fame (the spacey These Walls) but in contrast to the Canadian, Lamar’s existentialist outpourings are informed by the civil rights movement #BlackLivesMatter, protesting successive police killings of African-Americans. TPAB is daringly conceptual, albeit more loosely so than Lamar’s breakthrough ‘movie’, good kid, mAAd city.
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