Kendrick Lamar’s new album, GNX, comes out in high anticipation, but how does it stack up to the renowned collection of work of its creator? With an assortment of bold lyrical statements, a polished sound, and a range of high-profile collaborations, GNX comes in as a strong contribution—but not one that will mark his career. There can be no denying that Kendrick holds a specific role, one in which he grapples with his position in the field and with his lasting impact.
Although this album cannot deny its superiority over most modern works, it cannot rise to the level reached in its precursors. In an unbridled conversation with an SHS student, Jagger Lindgren, Kendrick’s newest work was deemed “pretty good,” but one of less strong works in its collection. Lindgren places GNX at a position of five in Kendrick’s collection, a position that reflects both its summits and its lows in its new work. But will a position of five suffice for a fan base that is used to near-imperfections?
Strengths: Conviction, Skill, and Partnership
Essentially, GNX is a triumph—that one that its listener will, at times, deeply need. There is a confidence, an aura of accomplishment, and a distinctly unshakeable confidence in Kendrick, one that, through years of careful development, will become palpable in its presence. From its first songs, it can become increasingly apparent that he holds a strong grasp of its position in hip-hop heritage.
One of the greatest strengths of the album is its production. The beats sound lush, cinematic, and textured, and Kendrick’s lyricism continues to cut through the music with ease. Kendrick glides between subjects of legacy, fame, and introspection, tending to stack his bars with sharp social observation. Yet, for some, one can’t help but wonder whether the overall message of GNX is one of reaffirmation of Kendrick’s position at the top, and not one of extending the horizons of sound and ideology.
Lindgren captured that feeling in an interview, saying that GNX sometimes sounded “braggadocious,” particularly in songs in which Kendrick is “putting Drake in his coffin.” Kendrick’s lighthearted shots at fellow artists can sound a lot of fun, a lyrical sparring session, but one that at times borders on suggesting a repetitive theme in the album. An enjoyability, but not one that takes new ground in a manner To Pimp a Butterfly and DAMN. both did.
Strengths: Production
One of the greatest strengths of the album is its production. The beats sound lush, cinematic, and textured, and Kendrick’s lyricism continues to cut through the sound with ease. Lindgren captured that feeling in an interview, saying that GNX sometimes sounded “braggadocious,” particularly in songs in which Kendrick is “putting Drake in his coffin.”
The concept of a “victory lap” cannot necessarily be seen in a negative light; in fact, in this case, it could possibly be argued that Kendrick shows a level of complacency. The sound of the record is nostalgic, and a lack of bold, experimental sound shifts between songs can make one crave a deeper level of substance. According to Lingrom, GNX is a prototypical “love-hate relationship,” a perfectly produced record yet one that creates a desire for a more intellectually challenging and experimental experience.
The standout in GNX, in terms of specific songs, is “Gloria” and “Luther,” with “Luther” featuring Kendrick and SZA together. There can be no denying SZA’s dreamlike voice brings out Kendrick’s sharp delivery, and “All the Stars” enthusiasts will have a lot to enjoy in these two offerings. Lingrom agrees, stating SZA’s contribution to GNX is one of its most defining factors. According to him, “I think SZA works well with Kendrick,” citing their work together beforehand. “Gloria” and “Luther” both serve to illustrate effectively both artists working in concert, and the record takes on a deep level of emotionality that is contrasted with passages that sound disconnected and almost deliberate in construction. That being said, one could reasonably say an added diversity of dynamic collaborations could have been a positive for the tracklist in terms of diversity and overall impact.
In Lindgren’s critique of Kendrick Lamar’s work, GNX is ranked as the fifth most important work. As important as it is, it doesn’t have the breakaway innovation of good kid, m.A.A.d city, nor its deep cultural impact, but it is a strong work on its own terms. Unlike with DAMN., with its level of experimentalism and concision, GNX takes a traditional form—substantial but unremarkable in its revelations.
Artists such as Kendrick Lamar have high expectations, and with new work, anticipation runs high. Fans crave work that sets new standards for hip-hop, and with GNX, that demand isn’t filled in the same manner as with his preceding work. That being said, it is a strong work, outpacing many works in modern times in its field in many regards.
Conclusion
GNX is a strong contribution to Kendrick Lamar’s canon, but one that doesn’t ascend to the level of his most accomplished work. With assured and polished productions that feature Kendrick’s continued talent, it is a strong work for certain, but one that doesn’t deliver in terms of innovation and boldness that have marked his most important works. With collaborations with SZA and with the specific lyricism displayed in the album, it is a work worth noting, but for Kendrick, it seems a reflection of a part in his life in which introspection trumps transformation. For Kendrick’s loyal followers, a celebratory work, but for Kendrick, a sign that new horizons lay in store—should he choose to explore them, that is.
