If Good Kid, M.A.A.D City introduced Kendrick Lamar to the masses, To Pimp A Butterfly cements his place in the hip hop hall of fame. This is an instant classic.
A lot of The Power That B seems like it shouldn't work, and yet it does. It's a huge, crazy wall of sound, and that makes for an exhausting listen.
A polished, lumbering beast of an album. Not so much concerned with peaks and troughs as with a steady, charismatic drone of all things Compton.
While there’s little wrong with any of the cuts, the album in its entirety can feel a little half-baked. An extra push could have made this Williams' defining work.
Uneven, sporadic, and totally erratic; an unfinished version of a potentially great album. Enjoyment and frustration abound in equal measure.
Comprised mostly of dabbles and snippets from the formative months of To Pimp a Butterfly, this album embraces its patchwork nature and in doing so manages to sound more complete than many ‘real’ records do.
This still makes for a great listen, especially for anyone with a penchant for hip-hop and breakbeat music looking something slightly different.
Illmatic has every element required that goes into making a great hip-hop record, with no gimmicks to intervene. It is, at its core, ten essential tracks.
The album is ice-cool summer groove music, with shimmering guitar stabs, slender double bass slides, and silky smooth vocal delivery aplenty.
Blond flirts with indulgence but just about manages to stay grounded. It’s an account of slight thoughts, vague ideas, and delicate musings.