In both albums, he builds each song from the ground level up, using voices primarily as colors and instruments (Rapsody lends the only guest verse on the new project). Sonically, Kendrick continues to utilize the voices on his album for more than just the verses. The beauty of To Pimp A Butterfly being the followup to good kid, M.A.A.D city is that they’re more alike than you think. “You preached in front of 100,000 but never reached her/I fuckin’ tell you, you fuckin’ failure you ain’t no leader/I never liked you, forever despise you I don’t need you.” During the self-deprecation session, he’s cooped up in a hotel room gasping with the kind of breathlessness that comes after a long cry when the body is tired of tears but the heart isn’t.
“Where’s your antennas, where is the influence you speak of?” he sobs, harsh words slurring between glass clinks and audible gulps of liquor. Hearing the painfully descriptive “u” is reminiscent to feeling an old wound slowly open up again. On Butterfly, Kendrick treads into the side of his mind that depression once clouded. The album’s not all sweet smiles and uplifting moments, though. The tenor coos, faint scatting horns, drowsy background vocals and driving percussion of the upbeat “Alright” sends the body into a state of celebratory release without so much as having to think about it.
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Take the groovy yet sensual “These Walls.” The intimacy is palpable with its exasperated moans, wailing wind instruments, deep melodies and free styling electric keys. Dot, his production crew (our hats are tipped to Flying Lotus, Sounwave, Terrace Martin and Thundercat) and his perked ears for musicality use sophisticated instrumentation and meticulous sonics to create surround sound moods.
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It’s an ambience album full of aural color and emotional depth. In addition to Kendrick’s consistent lyrical acrobatics and detailed taletelling methods (a must listen for this is “How Much A Dollar Cost”), Butterfly‘s biggest strength lies in its feels. Like the conversation starters present on the fiery and militant “The Blacker The Berry” and introspective “Complexion.” The diversity of funk and soul samples like Boris Gardiner’s “Every N***** Is A Star” for “Wesley’s Theory,” “Momma” borrowing Lalah Hathaway’s “On Your Own” and The Isley Brothers’ “Who’s That Lady” for “i.” The spoken word pieces scattered throughout, manifested as a cheeky “For Free?” interlude, a soapbox speech in the middle of an “i” performance and during a wide-eyed interview with immortal rap royalty on “Mortal Man.” Butterfly shouldn’t be rushed through in search of a song to blast at ig’nant levels in the car (although “King Kunta” and “Alright” are strong contenders). Being a lazy consumer and putting it down after one quick listen leads to missing all the assorted flavors present on the plate. Existing as a minority amongst hip hop’s pit of empty-caloried fast-food music, TPAB requires layered listening. Nicki Minaj To Receive Video Vanguard Award At The 2022 VMAsīuried within the album are valuable lessons in patience and slowing down when it comes to listening to music.
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