GNX

by Kendrick Lamar

2024 has been one helluva year for Hip-Hop in the public eye, specifically emanating from a dynamic beef between two heavyweights in this era of the genre, Drake and Kendrick Lamar, over the summer. It brought back memories of iconic beef and the tug-and-pull between fandoms, like East Coast vs. West Coast in the 90s or my generation with Eminem vs. Ja Rule / Jeezy vs. Gucci Mane in the 2000s. Since the final tracks laid waste to the musical side, the internet has lost all essence of rap beef nuances, further influencing some people to speak out in unexpected ways, like Lil Wayne and others when Kendrick Lamar was given the Super Bowl Halftime Show as the first solo Hip-Hop act to do so. It’s a heavy toll that has shown its ugliness, like the violence we’ve seen enacted in the past; however, Drake and Kendrick have been mostly keeping it on wax, and in Drake’s case, the addition of Instagram likes and live streams. Through it all, many thoughts have possibly been lingering for both since, and Kendrick Lamar has shown so with the surprising release of GNX, an imperfect release to let it out.

As I kept listening to GNX, it began to feel more like a bridge between projects, very loosely similar to how Untitled Unmastered bridged the gap between To Pimp A Butterfly and Damn, in it that themes paralleled and became expanded through ideas centered and focused. Though it’s just a mental comparison, GNX isn’t filled with demos or cut tracks from his previous album, Mr Morale & The Big Steppers, instead mirroring the now, and the sentiments lingering inside Kendrick Lamar as he continues to reach newer heights. It’s present from the moment it starts to the moment it ends, even when you leave understanding it isn’t perfect. Fortunately, Kendrick Lamar’s creative insight has shown the desire to keep it on the right path, bridging tracks with emotional dexterity as he showcases his two sides. As he would rap on “wacced out murals,” “This is not for lyricists, I swear it’s not the sentiments/Fuck a double entendre, I want y’all to feel this shit,” Kendrick Lamar isn’t going to juggle through his words and instead give it to you straight, even if he fumbles that idea at times, though not detrimental to the onus it focuses on, which is a reestablishing of sentiments had against the industry and the rap game.

GNX is thematically rich with ideas that elevate a sense of being, especially as Kendrick finds his yen, that he doesn’t lose track of focus. That sentiment became clear when the co-founder of Audiomack and industry veteran Brian Zisook noted that Kendrick’s labels were only made aware of the drop the morning of; it further made the impact of “Hey Now” more powerful. Kendrick Lamar controls his narrative and happiness, whether introspective or relishing in the highs with  “wacced out murals” in “Squabble Up,” respectively. Kendrick is living his high and anyone who gets in his face has to prepare to fight, or as they say in Los Angeles, Squabble Up. It’s a collection of varying ideas that centralize themselves into who Kendrick Lamar is and what he feels, like the lavish and stunning construction of “Luther,” where Kendrick and SZA focus on love, and a better tomorrow. “Man at the Garden” sees Kendrick acknowledging his transcending trajectory in Hip-Hop, specifically feeling like he’s deserved it all. “Dodger Blue” revitalizes the culture of LA at the forefront, and gives us something actualized as he blends the Latin/Mexican roots with that of Hip-Hop and Soul, combed through with a fantastic verse by Lamar. His onus is strong, but not as strong as “Reincarnated.”

“Reincarnated” is how one beautifully embodies the soul of Tupac, both artistically and musically, as Kendrick Lamer takes us through stories of artists who reflect his inner self and drive to succeed. Though not a diss track, it reminded me a lot of 50 Cent, Eminem, and Busta Rhyme’s remix to Hail Mary when dissing Ja Rule, blending Pac’s flow in with theirs and imbuing the energy he showed during his battle with The Notorious B.I.G. Unlike the hard rock Hip-Hop nature of it, “Heart pt. 6” and “Gloria” close the album triumphantly, despite sandwiched by the weak title track in the middle. Unlike the former two, “gnx” has a milquetoast beat that doesn’t take many chances when incorporating those west coast vibes. The track sees Kendrick handing the reigns off to three West Coast rappers, bolstering its pride and fortitude amongst the varying range of sounds; unfortunately, with a weak beat and rappers who aren’t taking full control of the moment, there isn’t much to take from it. However, “Gloria” is a love letter directed at his pen, the tool he uses to write all his rhymes, unlike Drake and his Blackberry. “Heart pt. 6” sees Kendrick reflecting on his career and connection to the other three who made TDE what it is today, showing brotherhood and camaraderie, including their strongest traits.

This isn’t feasibly possible without Lamar’s producers. Sounwave alongside Jack Antanoff, and a cavalcade of fantastic co-producers like Kamasi Washington on “Luther” or Mustard on “TV Off,” giving us some potent moments through samples and arraignments, like the mariachi textures. Though the beat to “wacced out murals” isn’t as strong, Kendrick’s lyricism and focus drive it home. It’s one of two missteps that shows his flaws, making him look fallible to miscues and life’s obstacles. Fortunately, the final product stays stable on its echelon with other Kendrick albums, as it doesn’t fully pass the kind of sniff test that Damn or Mr. Morale & The Big Steppers did, specifically with the ceiling they eclipse based on the expected. GNX was more of a disappointment, emanating from feeling less complete while maintaining some fluidity to open doors toward something superb. Hopefully, that’s the case because there was a lot to love about this record and then some.