Kendrick Lamar “Mr. Morale and the Great Orator”: Confession of Mr.

I don’t want to erase Kendrick Lamar (Listen!) The most important rapper in recent years, because it is still popular, among others future or for some thug youth (However, they also have arguments in support of their thesis, I invite you to listen to “So Much Fun” and “JEFFERY”), but … let it be. k point is greater. For many Americans, rapper Compton is a hero who has managed to achieve success with talent and diligence, and is the (next) voice of a generation living far from the realm of fantasies and grappling with Tik Toka and Instagram stories. For us, he is basically a musician who records great albums and has never fallen below a certain level. OK, but everyone wants to be “just” a rapper who can still enjoy one line and a blunt message and this time with a special openness.

It’s time for the premiere Mr. Moral and the Big Steppers. After the initial enthusiasm, especially outside, it pays to cool off a little, because all those extreme tones displayed to the right and left sound wrong, rather a hunger for new music and expectations have done their job. Now, calmly and with a clear head, it is possible to become a successor “Curse.” It’s like any other album. Music, not a title.

There is a lot of praise and disapproval of it, because this massive project, both in terms of its momentum, concept and group of collaborators involved, offers everything Kendrick Lamar is already used to. But … it has never been so open as here. He fights his demons and admits his mistakes. There is less voice for the generation, message to peers and reports from the suburbs, and more introspection and pain. There is no permanent sitting with your buddies near Gibbons, but there is time in the psychology offices and with your family after all the storms. However, the more personal passages are the most important: “Aunt’s Notes” representing the history of transgender family members and important support for minorities, the toxic “Father’s Time” evokes German spirituality at the same time. Eckhart Tolleor “Mother I Sober,” where K. Dot talks about abuse.

Kendrick Lamar is not supported this time by a rapper from TDE. This does not mean, however, that not much happens as a guest. samva In “Father Time” he steals the chorus as he does Zachary Adore.” It also works well summer walkerWhich, in “Purple Hearts”, with her gentle and comforting voice, separates the verses of the host and ghost faceWho scores once with K.Dot, again with us Maru. And good, because it’s a solitary certainty from Wu’s circles, even when behind Mai he gets emotional and interprets the Bible in his own way. Beth Gibbons With portished – Far from the big market, with crazy singing, without which there wouldn’t be an extra dose of honesty in the vocal “Mother I Sober”. Really excellent, can’t write about it Kodak BlackWho, instead of stopping Rolls-Roic on the axle, should consider turning off the microphone, at least for a while. As well as the phrase “We Cry Together”, which is interpreted by many – semi-dialogue, semi-quarrel between partners, which is used in the playlist to the same extent in skits. Good at once, then exhausted, especially with those screams and verbally licking your genitals after arguing.

Every Kendrick album has always been impressed by his production. Great music experience, strong selection and team of people responsible for the individual support tracks. The song “Mr. Morale & The Big Steppers” was suspended between the sound of “DAMN”. (“The Rich Soul”) and the exploitative atmosphere of “To Pimp a Butterfly” (“Purple Hearts”). There’s a masterpiece taken from Atlanta’s “Silent Hill” basement, and there’s also “Worldwide Steppers” jazz based on a loop funkes. The weeping violin “Savior – Interlude”, which begins with a fragment of Tolle’s speech, contrasts with the sublime of “Aunt’s Notes”. There are plenty of trails, honoring the soul, as much as journeys toward trials and EDM.

The psychedelic song “Count Me Out” with its wonderful chorus is sweet as thick smoke, at least until the rattlesnake enters, pierced with tickle and the pounding of bass from the ground. And the simple piano “crown” with loud vocals at the end in a style that gives a lot Andre 3000. The huge feature of “United in Grief” that the piano breaks is the art of several producers, and “Die Hard” and the strong southern “N95”, a combination of UGK and Outkast, are some of the most captivating moments here. Rich Spirit and Mister Moral are not just passionate about creativity James BlakeBut also a smile towards the carrots. Don’t worry – burnt California style.

Time will tell if “Mr. Morale & The Big Steppers” will go down in history as much as any of the previous albums. Quieter, even chilling at times, how personal. Sometimes wonderful, sometimes wonderful. A trip to yourself with a rapper you can say is definitely the best. It was worth the wait, but Lamar never had many individual moments that were in doubt. It is a pity without “Heart Part 5”. And he was very nice, American.

Kendrick Lamar, “Mr. Morale and Adults,” TDE/Universal

8/10

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