For Free? – Interlude is one stunning, sax-led jazz scat in which Lamar enunciates “this dick ain’t free”. But Lamar is fearless in his scope here, both lyrically and sonically. Jazz is a brave place to go, even for a man from Compton. Months in the anticipating, its follow-up, To Pimp a Butterfly (the title improves after one play), finds Lamar eyeing up America, turning his back on the lure of easy stardom. His breakthrough album of 2012 cast this native of Compton, California as a “good kid” from a “maad city”, a poet promoted out of the war zone to tell his tale. As angry as Kanye, as funky as D’Angelo, more self-flagellating than Drake and as righteously cosmic as Erykah Badu, Kendrick Lamar’s latest album does not disappoint.
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