It’s been a while since we’ve heard from Kendrick Lamar. Since his highly acclaimed 2012 debut, good kid, m.A.A.d city, Kendrick has continued to be burned into hip-hop’s collective memory. Whether it’s the replay value of his debated ‘classic’ debut record, his infamous, historic ‘Control’ verse, or other features alike, Kendrick’s presence has continued to be felt as one of the most important voices in hip-hop’s new, digital age. Kendrick Lamar’s trajectory seemed to be headed down a more commercial, sellable version of the conscious hip-hop we are accustomed to, as his previous projects continued to get progressively more and more accessible in terms of sound. Whether it was his hit single ‘Swimming Pools’ cleverly highlighting the perils of alcoholism masked under a familiar trap-bounce and catchy-hook, or bangers like ‘Money Trees’ and ‘m.A.A.d city’ being able to teeter on the lines of conscious storytelling while still being festival and club favorites, it seemed as though Kendrick Lamar had mastered the ability to convey his message in the purest form possible while still appealing to the majority. His lead single for his sophomore album, ‘i’, was no different. It was a polarizing record that ditched the hard-bars, name-dropping and 808s for a funkier groove, courtesy of an Isley Brothers sample and Kendrick’s pitched up, OutKast-esque flow. As positive and pivotal as the message was, much of the hip-hop culture was left torn when trying to support a more positive, uplifting message, but with a less hip-hop, lyrical sound. Many thought the Grammy-award winning ‘i’ was a sign of things to come, and possibly a full-fledged leap into an even more radio friendly Kendrick Lamar, but with To Pimp A Butterfly, Kendrick has ditched the drum-machines for live instrumentation and an exploration in a potent and pure incarnation of modern jazz-funk.

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