Kendrick Lamar’s breakthrough second album, good kid, m.A.A.d city, left such an impression that hype for a follow-up has been through the roof. So forgive the Compton rapper if he kind of Beyonce’d To Pimp a Butterfly, teasing singles before announcing a release date and suddenly putting it out a week early. Pulling the rug out from hype and inevitable backlash, it gives us a change to all hear To Pimp a Butterfly at once, in all its glory. Butterfly doubles down on the idiosyncracies of good kid, eschewing club-friendly tracks in favor of those that cast a light on Lamar’s pure skills as a rapper and wordsmith—always celebrated, yet perhaps distracted by stellar production and good kid’s concept-album style—as well as his ability to put together a layered and compelling album. Tracks like the “For Free” interlude are showcases for Lamar’s dexterity, while “u’s” desperate, verge-on-tears delivery find him at his most vulnerable —Drake’s never done anything like this. The production across To Pimp a Butterfly, courtesy of such luminaries as Flying Lotus and Thundercat, like those artists’ work (and similarly to D’Angelo’s recently released Black Messiah), effortlessly melds hip-hop, R&B and jazz on excellent tracks like the off-kilter “Institutionalized” and gorgeous “These Walls” to exist in some mystery middle space, without drawing attention away from Lamar’s star power. While headier tracks dominate the album, Lamar unleashes a couple of huge singles at the album’s closing. At first, “i” could come off as Lamar’s “sell out” track, catchy enough to sit alongside Pharrell’s “Happy” as a crowd-friendly that sands off his rough edges, but it serves as a bit of a breather here, dressed up in The Isley Brothers’ unstoppable “Who’s That Lady,” though Lamar’s lyrics remain deeply dark, exposing his own depression, and a spoken word passage that delves into a discussion on racial slurs adds context. Following the reclaiming of racial stereotypes on the absolutely killer “The Blacker the Berry,” To Pimp a Butterfly ends ultimately feeling conflicted yet triumphant. It’s a deep, complicated work, yet not one that feels the slightest bit overstuffed or overwrought. Kendrick Lamar successfully defies all expectations yet again, on what’s sure to be one of the year’s best albums.
Fucked Up fans might be surprised to learn the band’s guitarist, Ben Cook, hides a secret power-pop fetish. Ripe 4 Luv is full of gleaming guitars, tinny drum machines and immediate, Big Star-inspired melodies. Cook still lets the guitars rip on songs like the irresisitable “Crawling Back to You,” but they’re in service of spaced-out love songs rather than post-hardcore epics. So even if the Ariel Pink-ish “Aquarius” is about as far from Fucked Up as you can get, it proves Cook can wear multiple hands and do it quite well. Ripe 4 Luv is a sterling piece of charmingly lo-fi power-pop that burns brightly over its snappy eight songs.
The singer/songwriter/producer and Spacebomb Records founder returns with a second album that re-creates the American songbook D.I.Y.-style, moving from classic R&B (“Take Care My Baby”) to country-soul (“Rock & Roll Is Cold”) to gently orchestrated romantic indie pop (“Fruit Trees”), showing a master’s touch throughout.
Here’s a list of records to check out that are currently scheduled for release in 2015 (dates/releases subject to change).
This touted Australian singer/songwriter writes anxiety-ridden screeds over catchy garage-rock on her breakthrough record.
Colleen Green details major life upsets as she faces the end of her 30s on her new album, I Want to Grow Up. From breakups to digitally addled attention spans, Green’s power-pop panache makes quarterlife crises go down smoothly on hooky songs like “Pay Attention” and girl-groupish “Wild One.” “I’m so sick of being self-absorbed,” Green sings on the title track, yet she’s so good at communicating that sense of staring at the ceiling and chastising yourself that we can’t help but be hooked on her particular brand of sugary anxiety. She writes a catchy ode to getting clean and going to bed early with “Things That Are Bad for Me” and then follows it up with another track about wanting to get fucked up on the drone-rocking “part 2,” summing up a sentiment on this album we can all relate to: I’m gonna get it together, maybe tomorrow. Read more about I Want to Grow Up in our interview with Green here. See her live at Amoeba Hollywood today at 7 p.m.!
Catalonian teen quartet Mourn makes a passionate racket on their debut album. Singer Jazz Rodriguez Bueno channels PJ Harvey with her raspy delivery and more cutting lyrics on tracks like “Dark Issues,” or a young Siouxsie, on the way she can play with emotions but still bring a smile to your face, on songs like galloping opener “Your Brain is Made of Candy.” Her band keeps things terse, inspired by the likes of Nirvana and The Ramones, yet their clean guitars and neat grooves on standouts like “Philliphius” and “Otitis” suggest wisdom beyond their years. A handful of tracks read as more juvenile alt-rock exercises, yet Mourn also never loses momentum, bashed out with a live-tracked, Steve Albini feel and the animated precision of off-the-cuff ideas rehearsed and captured in one raw take—Bueno’s wail at the end of bonus track “Boys Are Cunts” feels both visceral and well-timed. It’s an incredibly promising debut that puts our faith back in so-called wasted youth.