After the release of Kendrick Lamar's major-label debut good kid, m.A.A.d city — deemed by many the best major-label debut since Illmatic — Kendrick Lamar was named hip-hop's savior, the messiah we'd been waiting for.
Heavy is the head, they say, but apparently no less capable. The Compton MC spent over three years on its followup, To Pimp a Butterfly, a deeply profound and poetic album that was unrelenting in addressing of racial politics, an album not to be played in the car or club, but reckoned with and to accept.
So naturally, he would once again recede into his mastermind cave, spend three years writing rhymes on a window like hip-hop's John Nash, and emerge with a project even more perfect and prophetic — right? Read more...
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