The saying goes, “something old, something new, something borrowed, and something blue,” and very rarely does one get all of that and more in a single package, much less a single album. But here I am, in the living room of my West Philadelphia apartment, receiving a gift fit for someone entering a long term commitment. And I suppose I am, in some ways, committing to this music. This album is loving me back or, at least, I like to think it is. Whether it’s the way he marries lighthearted pimpin’ with a coarse, sultry tenor, or the funky bass riddled boom bap that has become a hallmark of his brand of hip hop, it’s safe to say that Anderson .Paak is making his own lane in an industry that has become altogether cut-and-paste.

If Kendrick Lamar’s To Pimp a Butterfly is the album that urged hip hop back to its jazz and soul roots, then Malibu is the album to solidify this new era with an unmatched accessibility. The culprit’s name is Anderson .Paak, formerly known as Breezy Lovejoy, who is often cited as the grooviest man in the room. Malibu has dropped after a year marked by a relentless campaign of releases and collaborations with the likes of Knxwledge, Tokimonsta, and most notably Dr. Dre. His prominence on Compton, from tracks like “Animals” and “All In A Day’s Work”, brought him a considerable amount of attention and set the stage for a breakout release in this most recent LP.

On Malibu, .Paak delivers a unique mix of grit and longing in his vocals that helps elevate the album from fitting neatly into a single genre. The matrimony of singing and rapping intertwined with incredibly refreshing production from the likes of 9th Wonder, Madlib, Hi-Tek, and many others creates a soundscape that travels back and forth in time without missing a beat. On the tracks “Am I Wrong” featuring Schoolboy Q, and Lightweight, we find ourselves in a disco laden groove with .Paak giving us his best McFadden & Whitehead impression. On the slower, more sensual cuts (i.e. The Waters, Room In Here ft. The Game, and Waterfall), we receive an irresistibly smooth, sly voice that’s convincing us to stay for awhile. But what is most distinct about this album is the mastery of Anderson’s cadence–the shift from rapid fire rhyming to swaying phrases to all out singing creates textures that are a delight for anyone with an open mind and a love of hip hop.

2016 is already on pace to be a phenomenal year in music. Malibu is out of the gate bright and early, on bended knee, asking for your affection, if only for the moments until another album whisks you away on another love affair. But that’s just it–it doesn’t take much convincing when the music loves you back. RE

Malibu is available for streaming on Spotify and Apple Music, and if you dig it, slide the man $9.99. Consider it a gift to yourself, you deserve it.

The post REVIEW: Anderson .Paak Delivers with “Malibu” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Here we go with another very dope visual experience brought to us by Kendrick Lamar and his camp. “These Walls” is the next single off his sophomore album To Pimp a Butterfly, so it was only right that King Kendrick bring us a thought-provoking video that oozes of creativity and entertainment. The comedic video features guest appearances from Corey Holcomb and Terry Crews (One scene even depicts Kendrick and Terry hitting the Quan). I’ll stop typing and let the video speak for itself. Props to Kendrick for continuously raising the bar with his art.

The post New Video: Kendrick Lamar – “These Walls” ft. Bilal, Anna Wise, & Thundercat appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

The Knxwledge and Taz Arnold-produced track allows fans to witness Kdot reflect on the true cost of fame in the midst of his mental self-destruction.

His journey to pursue happiness began after comparing the beginning of his rap career to the heights of his current success, causing him to realize that he lost himself to the fame. After mourning the loss of the person he used to be, Kendrick reverts back to his roots as a humbling tool, showing appreciation for Compton, the place that made him who he is.

Heavily influenced by his humbling trip to South Africa, Kendrick realizes that he could use his fame for the greater good, becoming a positive voice for his community.

Though the song ends with him frantically searching for his purpose, the darkness Kendrick experiences in “For Sale?” and “u” is slightly lifted. “Momma” is a tribute to his roots, pushing him to refuse to let fame erase the connection between where he comes from and who he is.

The post Kendrick Lamar’s ‘Momma’ Encourages Him to Remember Where He Comes From appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

With all the hoopla that’s been circulating around the hip-hop community lately it was only fitting for K.Dot to drop some fresh new content #ForTheCulture. He has been releasing some stellar, unique content as of late, and this brief visual for “For Free? (Interlude)” is no different. It goes to show that no matter what is going on, Kendrick Lamar can come out of left field and garner the spotlight. Check the video out below.

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