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Lamar is a playful and conscious observer with a huge ego: after all, what is a hip-hop album without it? His braggadocio is thrilling (we hear him rap about himself and Martin Luther King in the same breath in Backseat Freestyle), and he throws in the euphoria of youth when he boasts about having a 'dick as big as the Eiffel Tower'. The hazy, ethereal beatscapes designed for dope smokers (though Lamar rarely partakes, it's probably not news his fans are partial to a puff) certainly support that view, but for all the lulling basslines and languid drawls, it is the rich sexuality of tracks such as Poetic Justice or dance-ready injections on Swimming Pools (Drank), as Lamar barks stern instructions on how to drink properly ('You fill a pool full of liquor and you dive in it') that show off his rich talents as a songwriter and producer.įrom the opening prayer on Sherane to the skits that run throughout the album, which feature fragments of his mother's voice offering warnings against temptation, Lamar creates a detailed narrative of the moral dilemma facing the good kid placed in a mad city with all its lures.

On first listen you could be forgiven for writing this off as a one-dimensional cloud-rap offering.

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