Kendrick Lamar’s new album, GNX, hit the scene like a curveball, catching fans and critics off guard. Known for his dense, intricate storytelling and heavy conceptual themes, Kendrick flips the script here with a project that feels stripped down, looser, and more visceral. The energy is unmistakably West Coast, and the album feels like it was designed to be blared from car speakers on a hot LA afternoon. It’s far from his most ambitious work, but it’s still unmistakably Kendrick—filled with clever wordplay, hard-hitting beats, and moments of brilliance. That said, it doesn’t quite reach the heights of his greatest works like Good Kid, M.A.A.D City or To Pimp a Butterfly.
Let’s address the elephant in the room first: every time Kendrick drops something, there’s an almost ritualistic chorus of fans proclaiming it the “Album of the Year” before the first song even finishes. The fervor surrounding Kendrick is undeniable, and while his track record speaks for itself, this time around, the worship feels a bit overblown. It’s almost like Kendrick could step into the booth, open a crumpled receipt from his local grocery store, and start reading it out loud. Imagine it:
“Eggs. Whole milk. Apples. One pack of flour tortillas.” Add some moody piano chords in the background and a minimal 808 beat, and within five minutes, social media would be flooded with think pieces analyzing the deeper meaning behind the apples or the sociopolitical commentary hidden in the tortillas. Kendrick fans would declare it a groundbreaking meditation on food systems, late-stage capitalism, or his relationship with nostalgia.
The point is, the pedestal Kendrick has been placed on is so high that even his most casual work—or what might feel like filler to some—gets elevated to godlike status. He’s indisputably one of the greatest rappers of our time, but the intensity of the instant praise can sometimes overshadow the actual music. This time with GNX, it feels like the fandom is projecting greatness onto an album that doesn’t necessarily carry the same weight as his earlier masterpieces. While Kendrick’s name alone demands respect, it’s worth stepping back and asking if GNX truly reaches those legendary heights or if it’s being carried, at least partially, by the gravitational pull of his reputation.
The truth is that GNX isn’t groundbreaking or game-changing, but it is fun, digestible, and likely his easiest album to dive into. For all its strengths, this isn’t the kind of album that redefines the genre or pushes any grand cultural agenda. It’s a collection of tracks that reflect where Kendrick is now—angry, reflective, and perhaps a little less precious about his art.
GNX opens with “wacced out murals,” a fiery declaration of war. The tension is palpable, with Kendrick taking aim at both the industry and some of his own idols. Over dark, pounding drums and menacing strings, he calls out Snoop Dogg and Lil Wayne while reminding everyone that he’s at the top of the rap game. It’s aggressive, raw, and a clear signal of intent: Kendrick is here to set the tone, and he’s not playing nice. But as the album progresses, that intensity shifts into something more exploratory.
The album’s standout track, “reincarnated,” dives into Kendrick’s fascination with past lives and the cycles of history. Over a soulful, Tupac-sampling beat, he paints vivid pictures of imagined identities: a guitarist navigating racism in the 1950s, a Black woman struggling with addiction, and a musician bartering his talent for fame. It’s one of the album’s most introspective and moving songs, grounding Kendrick in a larger narrative of Black music and its triumphs and tragedies. The production feels warm and nostalgic, yet Kendrick’s lyrics anchor it firmly in the present.
Elsewhere, GNX is brimming with the sounds of contemporary West Coast Hip Hop. Tracks like “gloria” and “luther” pulse with smooth energy, blending sharp, minimalist beats with Kendrick’s effortless charisma. SZA makes two appearances, and her contributions add much-needed texture to the album. Her voice is smooth and inviting, contrasting nicely with Kendrick’s fiery delivery. While some of the guest features—largely from up-and-coming LA rappers—don’t quite hit the same mark, it’s clear that Kendrick is using his platform to elevate new voices. It’s a noble effort, even if the execution doesn’t always stick the landing.
The album’s title track, “gnx,” is a posse cut featuring a trio of underground LA artists. Kendrick largely steps back here, letting the guests shine while he holds down the hook. Unfortunately, the beat is awkward and clunky, undermining what could’ve been a standout moment for these newcomers. While their energy is on point, the track feels like a missed opportunity, bogged down by production that doesn’t do anyone any favors.
If there’s one consistent criticism of GNX, it’s the unevenness of its production. While Kendrick’s lyricism and delivery remain as sharp as ever, some of the beats feel one-dimensional, even boring. Tracks like “dodger blue” and “hey now” suffer from this lack of spark, leaving Kendrick to carry the weight of the songs entirely on his own. Even Jack Antonoff, a surprising name on the production credits, delivers mixed results. Some tracks benefit from his sparse, synth-heavy approach, but others feel hollow, as if they’re missing the depth that made Kendrick’s past albums so captivating.
Still, when the album works, it really works. Songs like “tv off” and “squabble up” hit hard, blending infectious hooks with layered storytelling. “heart pt. 6” sees Kendrick reflecting on his early days, painting vivid memories of his rise alongside collaborators like Jay Rock and SZA. It’s a rare moment of nostalgia on an album that’s otherwise focused on moving forward. Even when GNX stumbles, Kendrick’s raw talent keeps things engaging. His flow is as versatile as ever, shifting effortlessly from aggressive bar spitting to introspective musings.
Perhaps the most surprising thing about GNX is its lack of cohesion. Where previous Kendrick projects felt meticulously crafted, this album is loose and scattered, more like a mixtape than a traditional studio release. That’s not necessarily a bad thing—it’s refreshing to hear Kendrick cut loose—but it does make the album feel less significant in the grand scheme of his career. Compared to the sprawling complexity of Mr. Morale & The Big Steppers or the cultural weight of To Pimp a Butterfly, GNX feels lightweight, almost unfinished.
At the same time, that looseness gives the album a certain charm. It’s not trying to be a masterpiece; it’s an exploration, a snapshot of Kendrick’s current mindset. There’s a sense that this might be a prelude to something bigger, a chance for Kendrick to recalibrate before diving into a more ambitious project. For now, GNX serves as a reminder that Kendrick can still dominate the rap game without overthinking it.
Of course, it wouldn’t be a Kendrick album without some controversy. The lingering shadow of his beef with Drake looms over this project, even if it’s not explicitly addressed. Kendrick’s victory lap after dethroning one of pop-rap’s biggest names sets the stage for much of GNX’s braggadocio, but the album itself feels more concerned with the future than rehashing old feuds. Still, the absence of a central theme or concept may leave some listeners wondering what Kendrick is trying to say here, beyond reminding everyone that he’s still the best in the game.
So where does GNX fit in Kendrick’s discography? For us, it’s better than Mr. Morale and even more enjoyable than DAMN, but it doesn’t come close to the storytelling brilliance of Good Kid, M.A.A.D City or the cultural significance of To Pimp a Butterfly. It’s a middle-tier Kendrick album, which is still miles ahead of most of his peers. Tracks like “reincarnated” and “gloria” are proof that Kendrick can deliver standout moments even on an off day, while songs like “gnx” and “dodger blue” show that even the greats aren’t immune to missteps.
Ultimately, GNX is what you make of it. For longtime fans, it’s a chance to see Kendrick experimenting and letting loose, even if the results are uneven. For casual listeners, it’s an accessible entry point into one of rap’s most celebrated discographies. It’s not “Album of the Year”, but it doesn’t need to be. Kendrick Lamar has nothing left to prove, and on GNX, he sounds like he’s finally enjoying that fact.
7.5/10
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