Such unravelling of unforetold circumstances then gives rise to a decision in need of making; available on Spotify from its early release for free, is there any need to wait and fulfil payment for a pre-ordered hard copy? Of course this can only be decided with listening. Loop after loop of the latest conscious audio clips from the soul of K-Dot.
Not having read the reviews of the fastest analytical journalists, I can't imagine there being many 'first thoughts' articles which usually follow up new albums within hours of their release. 'To Pimp a Butterfly' always promised microscopic-grade detailing. Unique calibre lyricism, riddled with teachings, preachings, messages and lessons. An opportunity then to exercise my own analytic lense, and see how much I can decipher before everybody has read mass media reviews, understands it inside out in 10 minutes or less, and has moved on to the next new hype source.
In the same vein as 'good kid, m.A.A.d city', if more analogised, the record espouses a story in a masterful fashion. A life cycle infused with consumption, pimping, poetry, drug dodging and answer searching, with an eventual arrival at welcoming actualisation - the Butterfly. Inaugurated with 'Wesley's Theory', beholding an intro whose black pride vocals easily lend itself to imagery of the likes of Curtis Mayfield, the beat breaks and Kendrick proceeds to itemise stereotyped hood dreams of wanting and spending wealth.
Followed up with 'For Free', we recognise this as the outset of the caterpillar phase, and are introduced to the concept of pimping the Butterfly. Consuming his environment as a caterpillar, he learns to pimp the butterfly which, "represents the talent, the thoughtfulness and the beauty within the caterpillar". To use it as a means of survival and as a path to selfish gain. Cajoled by the city of Compton into the choice of 'Halle Berry' over 'Hallelujah', and resulting in the becoming of 'King Kunta'. Lyrics, wrapped up in smooth and sweet cut-a-rug funk licks, portraying his view atop the world; the women who used to walk on by during the process of climbing. And the haters trying to, like Kunta Kinte, keep him from running (the rap game) - previously defined by another King as "Mo' Money, Mo' Problems".
'Institutionalized' marks the encapsulation of the cocoon. A closing off to the bullet-punctured city atmosphere and focus on internalisation. A King with unfilled potential and explorational urges to discover and search for answers to the problems of the gang scarred city and beyond. Girl problems, the goodness of God and the 'evils of Lucy' (LSD). Following full metamorphosis is the comforting relaxed tones of 'Momma', and the declaration that "this feeling is unmatched, brought to you by adrenaline and good rap". No drugs necessary, and a encyclopaedic-style complete knowledge of the world exist with the second birth which sees the Butterfly for the first time.
With a capacity to be wise in glorious abundances similar to that of a Shaolin monk, Lamar comes back to the city. Despite his 'survivors guilt' from being cocooned away from his hood, he returns with the enlightenment of those same enclosed walls. Speaking on equality in 'Complexion', advocating an attention to the politics of the hood, and not to those of the rap industry on 'Hood Politics', and addressing the dangers of selling your soul on 'How Much A Dollar Cost', as he references Exodus 14; the story of Moses leading the Israelites to freedom from the Egyptians.
Perhaps most poiniently though are his words pertaining to hypocrisy on 'The Blacker the Berry'. With the recent killing of unthreatening, unarmed black males by white police officers who were cleared without indictment, he highlights the resulting unity of the community, and yet at the same time, how the west coast culture of 'gangbangin'' will have a male like himself killing another black male just because of an affiliation to blue or red; Crip or Blood.
Upon release last September, people were surprised at the sounds of Kendrick's single, 'i'. Now a chapter nestled in the context of his grand story, we see clearly. A celebration of self, following the comforting words of 'You Ain't Gotta Lie (Momma Said)'. A celebration of truly realising the Butterfly's form. Coming to a close, we hear the entirety of Kendrick's poem which he had been making a way through throughout the record. A blueprint for his tracks and their content which he recalls to 2Pac on 'Mortal Man'.
With the voice of 2Pac taken from a rare 1994 interview on 'p3 Soul' (a swedish radio show), this created dialogue between Shakur and Lamar is compelling at the utmost following Lamar's latest feature-length. Acting to remind in many ways the consciousness and fighting of 2Pac for the betterment of conditions for the African American community. To fight for equality and against the double standard of life in America. With this, Kendrick rediscovers the value of music, but not in a fiscal context as is being sought out by Wu-Tang Clan. Rather, the kind of value which does not lend itself easily to quantifying its effects, and yet has unbounded potential to instigate change.
Despite it's multi-layered genius, it's not a record with a mass-consumption musical focus. Although with more licks than a nice cream truck it may well find favour with more mature generations. Especially those with an ear for Jazz. At numerous points it evokes imagery of Diz & Bird, and Miles Davis with it's very Bebop feel. This being said I can't imagine there being too many more singles being released from it. With the exception of 'King Kunta', many of its tracks wouldn't naturally stand alone that well. Perhaps from a beat-consumers perspective then it's not really that commercial. It's prominence is most definitely in it's content and originality of methods used. It's comprehensive capability to challenge and thought provoke.
As if it needed stating, I'm keeping my pre-order and will pay with pleasure. Even without a computer or CD player it will stand for now as an objet d'art. It's cover art conveying the duality in America. Part of its beauty is in an imagined lack of interest in record sales and revenues. It's primary importance being in its acting as a kind of public announcement. A pin prick in a nations conscience, that the American dream, remains a dream. The influence of this album however has had me personally thinking long, researching life cycles, appreciating poetry and opening a bible (at Exodus 14). With this influence in mind here's something to mull over; Barack Obama is the most powerful man in the world, but with regards to African Americans at this time maybe Kendrick Lamar is more so.
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