On his brilliant-but-challenging first album in five years, Kendrick Lamar gives an all-access visit to the darkest corners of his mind.
,” and if the 19 songs that follow over the next 72 minutes are any indication, it’s quite an understatement. In the five years since he last released a proper album, 2017’s best-rapper-alive declaration “Damn,” Lamar became the first hip-hop artist to win the Pulitzer Prize, earned an Oscar nomination, launched a media company, performed at the Super Bowl, and announced his departure from TDE, the tight-knit label that has been his home and a key part of his identity since the very beginning.
Lamar is no stranger to confronting his personal traumas through art, whether he’s using them to situate himself within the rich and troubled heritage of his Compton hometown on “Good Kid, M.A.A.D. City,” or to transform his self-doubt into revolutionary self-belief on “To Pimp a Butterfly.” But even by his standards, “Mr. Morale” is often excruciatingly personal.
As often as this sort of lyrical restlessness can yield unexpected rewards, there are just as many instances where Lamar can’t seem to resist the urge to get in his own way. On “Auntie Diaries,” he offers perhaps the most explicitly pro-trans-rights statement we’ve yet heard from a rapper of his stature.
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