It needs to be stated up top that just because Kendrick Lamar has brought Mike Will Made It and U2 and Rihanna and Greg Kurstin (of Adele fame) into the fold doesn't自动地make his music any less worthy than it did onTo Pimp a Butterfly.It just means it should be approached differently is all.Or,换一种说法：与其问自己橙子比苹果差，ask yourself ifDAMN.accomplishes what it sets out to do as successfully asTo Pimp a Butterfly或好孩子，M.A.A.D.City完成了他们的计划。倒霉，how'd you expect an artist who released an album as sonically expansive asTo Pimp a Butterflyto follow that up,除了退后一步？
不是说我没有预订。事实上，I liked lead single "HUMBLE." enough: an absolute banger that I imagine would go well in the club — the first of that sort under Kendrick's name since "Backseat Freestyle." The criticisms threw me off (I've read stuff that complained about the disconnect between the song's title and braggadocio verses,好像那不是他妈的重点，与一些人所说的相反，this is far from the worst track here.（和）if这是这里最糟糕的赛道，这会巩固专辑的经典地位。）我的意思是，来吧：从一开始“糖浆三明治和犯罪津贴”和“假货”以及“会计生活”和“分析师”的押韵就相当有创意，也就是说，那首令人难忘的第二节（“这首灰色的波蓬，埃维昂，特德的谈话，ayy / Watch my soul speak,you let the meds talk,“艾伊”。
Instead,I was worried when the tracklist was revealed and U2 was credited as a feature.Some suggested "XXX." might be a case of Jay Z & Kanye West's "Otis" or "The Joy",tracks that featured Otis Redding and Curtis Mayfield in their titles respectively,despite only being samples.更让我担心的是，因为U2最好的歌曲往往被过度播放，更重要的是，overpowering.我试着想象听到肯德里克·拉马尔的声音，say,the military drums of "Sunday Bloody Sunday" or the chiming guitar of "I Will Follow" and shuddered at how the two would mix.It turns out Bono's parts are so understated that were U2's name not in the track name,没人会知道这是博诺的贡献。我本来想说的是，这首歌的前半部分对它有一定的影响，like U2's best songs once they discovered Eno,但那是个谎言：上半场不是一扫而光，it's an explosion,with maybe Kendrick Lamar's most invigorated flow on the album over what sounds like a combination of a swerving race-car and an alarm blare.The second half is an appropriate comedown,with Kendrick Lamar sounding exhausted at the state of things,but no less powerful: "Bosses with homicidal thoughts;Donald Trump's in office / We lost Barack and promised to never doubt him again."
专辑的其余部分更像是“XXX”，而不是“谦虚”。也就是说肯德里克仍然在玩弄他的声音在流动和节拍开关上的弹性（爵士乐思想的灵魂，who's worked with Kendrick extensively in the past,手上有一半以上的专辑，他一直感兴趣的话题。第一首合适的歌，“DNA。”应该立即消除任何保留，随着肯德里克·拉马尔（Kendrick Lamar）发表关于嘻哈对非洲裔美国人来说比种族主义更糟糕的荒谬言论，他走上了一条与“浆果越黑”（就内在而言）竞争的道路。anger.好像第一拍不够好（听起来不错，就像一个迈克将击败应该）或肯德里克·拉马尔在所说的节奏上的流动不够令人印象深刻（查看最后一段中每行的双韵）。在节拍转换过程中他呼吸困难，迈克会在他下面猛地跳动以增强这种效果。Regarding "YAH." that follows,I confess I wanted something more out of the beat given Sounwave (likely responsible for the starry run that caps off the lines about his niece) and DJ Dahi on deck,but the beat's appropriately washed-out for a track that serves as "DNA."'s cool down.
On the note of his voice,这可能是肯德里克·拉马尔最低调的资产。I almost want to compare him to Peter Gabriel or Kate Bush in just how much he can move his voice around — no other rapper does that!Case in point is "LUST.",a track that de-glamorizes the successful rapper lifestyle,在肯德里克·拉马尔（Kendrick Lamar）进入音轨之前，用键盘或吉他线暗示黑暗，and an outro with what sounds like a theremin and an electric guitar going haywire.And then he does,and the chorus is fucking terrifying: Kendrick Lamar trying to convince a girl to "Let me put the head in," and switching his voice immediately afterward to a squeal,“没关系，”她说，‘It's okay…'" That being said,there's something disappointing about the track,尤其是当我知道去巴达诺古德和卡玛西华盛顿有一手在它的位置，它是专辑的“答案”到To Pimp a Butterfly.Yet,不是那样的，后者是令人费解的委托给弦乐而不是萨克斯管。当我在争论的时候，拉马尔的第二节从歌曲的主要主题跳到了对特朗普的讲话上（“我们都醒了，tryna tune to the daily news / Lookin' for confirmation,hopin' election wasn't true");感觉他从一根线跳到另一根线，却又回到了桥上的另一根线，when a more traditional narrative arc would've fit better.Elsewhere,for a track with five producers like "GOD.",其中一些人能够真的很棒，“上帝。”的节拍充其量只是功能性的，充其量只是虚伪的。除了匹配“Duckworth.”的运行时间外，没有任何理由让这条赛道持续4分钟。
But again,quibbles: there's plenty of highlights to go around.我几乎可以肯定的是，“元素”第三节中的“雪兰”式键盘和极简节拍是詹姆斯·布莱克的作品（文斯·史泰博的作品《战备就绪》）吗？Prima Donna);“忠诚度”有一个旋律主干，听起来像是一个灵魂样本，通过电脑输入，然后被欺负屈服：结果是如此奇怪，就像它是诱人的。Broadly speaking,反之To Pimp a Butterfly全神贯注的G-Funk和爵士乐说唱和Neo-Soul，DAMN.manages to be sonically varied as well.也许不会达到同样的程度，但它确实少了25分钟。前合作者扎卡里在接受采访时说“爱”是“绝对是一种全新的类型”杈显然是夸大了，but hearing Kendrick Lamar melodically sing "I wanna be with you,艾伊I wanna be with—" right after Zacari's sweeter vocals was the album's biggest surprise for me personally.Not that he hasn't done a slinky track before ("Poetic Justice",有了通风的珍妮特·杰克逊样品，but this one islovelier在声音和情感上（可能是因为德雷克不在这里说唱“当我看到那东西移动时，我只希望我们少打架，多说几句”）。Elsewhere,“恐惧”是专辑版本的“为我歌唱”，一个肯德里克喇嘛一生中有三个截然不同的观点：一个害怕家庭虐待的孩子，a teenager terrorized from the environment he finds himself in,一个拥有比以往任何时候都多的男人，但由于担心失去一切，又害怕被人当作众目睽睽之下盯着他。与此同时，Alchemist gives him enough space to stretch by giving him a roomy beat,只有一把闪烁的吉他和一个蓝色的声音填补了这张专辑最漂亮的轨道。
All told,this is his first proper album where the tracks don't serve a greater concept;即使第80节创造了凯莎（在“恐惧”中提到）和塔米的角色，mentioned throughout a handful of its songs.Which means it's the first album in Kendrick Lamar's discography where tracks can more readily be taken individually.然而，鉴于艺术家的才华，他拉进来的制片人，与他之前的一些作品相比，这本书不仅雄心勃勃，而且收获颇丰。I mentioned at the start that he had no choice but to step back,声音上的。DAMN.sounds more like a follow-up toGood Kid比To Pimp a Butterfly.So the real question: where does he go from here?A