Rating: 8/10
On Kendrick Lamar’s sixth studio album, “GNX,” he’s angry, swaggeringly arrogant and fiercely self-assured — and he has every right to be.
The 37-year-old Californian rapper is coming off a massively successful year — dropping “Not Like Us,” arguably one of the biggest songs of 2024, emerging victorious from a heated and high-profile rap battle with Drake, being nominated for seven Grammys and getting slotted to perform at the 2025 Super Bowl.
Even before this monumental year, Lamar sat among some of rap music’s greats: Tupac, Snoop Dogg, Nas and Jay-Z. With 17 Grammys, a Pulitzer Prize and an undeniable influence as one of the greatest rappers of our generation, the only thing to further elevate his success was a new album.
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“GNX” came as a complete surprise to fans. There was nothing for even the nosiest of followers to uncover — no Instagram teasers hinting at new music, no cryptic messages to decode and no leaks to fuel speculation about the album’s release.
If he intended to shock the world, he succeeded.
Named after Lamar’s cherished Buick, “GNX” is an unapologetic, unfiltered “f–k you” to his haters. Lamar has embarked on a vengeful wrath against everyone who has doubted him — his critics, his opps, his skeptics — with an unrestricted onslaught of disses and ferocious bars.
He’s angry, and this anger pulses throughout the album’s 12 tracks. Even in the most melodious of songs, there’s an underlying sharpness of Lamar’s intensity. But the album is more than just an extended diss track; it’s a celebration of Lamar’s accomplishments and a testament to his pride and dedication.
Much of the album is unexpectedly co-produced by Jack Antonoff — including an even more surprising production collaboration between Antonoff and Mustard — and features artists like SZA, Roddy Ricch and Deyra Barrera, who add a dynamic blend of depth and variety.
The first track, “wacced out murals,” is a powerful opening to the album, immediately solidifying Lamar’s master status as a rapper. It’s a coiling five-minute track detailing Lamar’s dedication to his craft and disdain toward everyone who has doubted him.
“F–k everybody, that’s on my body,” he spews over a hammering beat, a glaring sentiment that resonates throughout the album.
The song also references a vandalized mural of Lamar created in the wake of his feud with Drake; among the graffiti written was “OVO,” a nod to Drake’s label.
“GNX” isn’t necessarily as expansive or as deeply introspective as some of Lamar’s previous albums like “To Pimp a Butterfly” and “Mr. Morale & The Big Steppers.” It lacks the sweeping narrative complexity and some of the poetic depth that defined his earlier works but still reinforces Lamar’s status as one of the most influential figures in modern rap.
The album flows freely, as it’s less about trying to prove he’s one of the greats but more about embracing the confidence and freedom that comes with knowing he’s already one.
There are quieter moments of intricacy woven throughout the album, and it’s still full of sweeping moments of lyrical greatness and all-encompassing beats. But these moments aren’t meant to convince the listener of anything; they are just there to reiterate Lamar’s known superiority.
The steady trickle of rain begins — “man at the garden” highlights Lamar’s smooth and melodic voice, filled with the contemplative edge that characterized his previous work. The production is barren, lacking any distinct sound besides the steady pulse of the drums, while the tranquil backing vocals create a serene, soothing atmosphere.
“B—h/ I deserve it all,” he sings.
Though his voice is quiet, it’s filled with a delicate conviction that progressively grows stronger. The somber melody lingers in the air, retaining an overall atmosphere of contemplation, flecking the song with vulnerability as Lamar’s vocals intensify.
The song “squabble up” acts like a smug lyrical saunter, Lamar snarling quick disses to the people who mocked and disparaged him during his beef with Drake.
His voice is relaxed and cool as it warbles over the rhythmic groove and a club mix of Debbie Deb’s “When I Hear Music.” The distinct sound of West Coast rap is prominent throughout the song — deep rhythms, a psychedelic funk-style production and relaxed tempo. The baselines gurgle in the background, creating a slinky, undulating backbone to the music.
“Luther” is a sleek old-school R&B reminiscent track centered around love and sensuality. Featuring a soulful sample of Luther Vandross, the song is filled with full-bodied instrumentation and a polished production. SZA’s lavish vocals breeze over the sultry beat, bringing a gentle tenderness that contrasts the album’s overall intensity.
“GNX” is straightforward, showcasing Lamar’s flexibility as an artist and his ability to make something uncomplicated, such as putting out a new album, still strikingly impactful.
You don’t need to search for answers to the album’s underlying meaning or scour the lyrics looking for significance. The message is immediate: Lamar is the best to do it.
