12/23/15

Don't Just Look At The Ratings: A Closer Look At Pitchfork's Numbers -- Part 2: All Of Pitchfork's Ratings, Like Pretty Much, Ever, And A Look At The Most Extreme Ones

Calvin gets it

Hey, wassup.  I'm back with more spreadsheets about music!  But seriously folks what's the fun in anything if you can't precisely quantify it? THIS IS HARD DATA!

If you're unsure if I'm being sarcastic or not, honestly I'm not sure either at this point.  Regardless, I've been sitting on some great data that I scraped off line way back last summer, and it's time I did something with it.  So I'm going to use a couple different metrics to find weird Pitchfork reviews.  Specifically, I'm going to look at Pitchfork's absolute lowest ratings, it's ratings with the largest difference relative to a consensus, and it's ratings that deviate most from a linear model.  Though this sounds boring, it lead to me reading some truly lol-able reviews by Pitchfork and a couple other blogs.  I'm going to share some choice quotes from those reviews, alongside some classic armchair meta-criticism to try and spice things up.

12/7/15

WE'RE BACK FROM THE DEAD: A Journalistic (Kind of) Review of Wake Up by Pope Francis and the Gang

WE HAVE BEEN RESURRECTED. THE PROG ROCK ALBUM YOU HAVE ALL BEEN WAITING FOR IS HERE. POPE FRANCIS' "WAKE UP!" IS HERE, AND IT'S BEAUTIFUL MESSAGE HAS SUCCESSFULLY RESURRECTED THIS HUMBLE MUSIC BLOG.


I was laying down in my room enjoying a nice afternoon nap when suddenly a booming omnipresent voice called out to me, "EMANUEL, IT IS TIME," and it was in that moment that I knew the second coming was nigh. With a burst of heavenly light and with an explosion that surely has taken away my security deposit, Pope Francis's new prog rock album Wake Up! descended from the sky, through the hole in my ceiling, and into my unworthy hands. A new age of enlightenment had begun. 

I timidly placed the ethereal disc into my CD player, it's glow seeping out of the spaces between the player's compartments. As I stared with awe, the album's opener, Annuntio Vobis Gaudium Magnum's, smooth futuristic synth straight out of a Sunday school tape woo'd me into submission. Amidst the searing power of the track's choir part I somehow managed to summon an utterance, "Wow, it's cool that Jeff Magnum is featured on this." Then he spoke. 

The Pope channeling God himself, summoning infinite wisdom and profound perception--wisdom and perception that entirely encapsulates the mysteries of the universe and mankind himself--opened his mouth and said...something in Italian. BUT, the next track started off with an excerpt in Spanish, so my feeble mortal mind was able to keep up. However, even my four years of Spanish in high school couldn't have prepared me for what came next.


 (Please press play for this next segment)

I sat pinned in my chair: track after track, answer after answer, the reflexive questions about I had about me and my place in the universe were answered. Then suddenly there was a deafening pause stiller than the darkest winter night. Then a break in the constant stream of realization, and I knew it had begun: the albums title track. Its beginning, prepared me for the death and rebirth I was about to experience. The ominous synth in the tracks beginning murmured, and I felt a great pain of a thousand sorrows: I was living life, as vast and complex as it is, in a solitary moment. The track slowly started to pick up with a steady and mind blowing kit, then it added a guitar riff that is so fuckin' bangin' dude, and last but not least it has a preset on the keys that I can say with utmost certainty that it was played by the ghost of Kerry Livgren. Here I sat, and as the awe struck me the song slowly crescendoed to the pinnacle of every piece of music ever, it was as if time and the universe stopped in the most divinely poignant place, "Wake up! Wake up!"


"AHHHHHHHHHH!!!!!!!" I screamed as the flesh seared from my face pooling into a crimson red slush on the floor.

It was here, at my death, where Pope Francis delivered a conjuring speech about waking up and realizing something or whatever I don't really remember but I began rising from the dead, my corpse reassembling into animation, I was being rebuilt, like a phoenix rising from the ashes. 

And with my body another was reborn as well,

Pope Francis, Wake Up!: 2/10, 


We're back :)

Happy listening, 

Emanuel (Sad Moth Manny) 



10/21/15

Sad Moth Concert Tour Pt.7: Blurry Concert Pics and an Intimate Evening With Josh Groban

Upon attending what was billed as "An Intimate Evening With Josh Groban", I was admittedly skeptical.  Groban was not an artist whose genre I was particularly interested in, or liked at all, really.  Little did I know, my decision to attend this seemingly innocuous concert would lead to much, much more than "an intimate evening".  Below is a first person account of my experience.

I walk into the beautiful Chicago Theatre and take my seat.  I nurse my four-dollar clear plastic solo cup of Pepsi and look around skeptically.  Much of the theatre is filled with middle aged women, all wearing Groban shirts and tittering excitedly.  So that's why he's so popular.  I roll my eyes. Whatever.   So a bunch of moms want J-Grobe's D.  That's nothing new.  But as a expert Sad Moth musical critic, I'm here to parse the fact from fiction -- is Groban all image? We shall see.  From what I've seen from my mom's albums, he's not excessively attractive.  The show starts.  Lots of screams when Josh enters from stage right.  He smirks a bit, tells a joke, then opens his mouth.  The second the first note reaches my ears, I plunge into a trance.

After the fifth song, I still haven't blinked. I cannot miss a moment of this brilliance.  I try to listen harder. I cup my ears to take in more sound waves.  I am transfixed.  Josh glides across the stage, he is a vision, a modicum of pure divinity.  He sways, staggering under the power of his own brilliance, his coattails billowing behind him as if he is standing on a jagged outcropping of granite along the Celtic shore.   His booming, vibrant tenor is the single ripple on a motionless lake, the drizzle of honey fresh from the hive, the squawk of an Osprey just as another Nor'easter is blowing in.  His voice is the ascension, the rapture, the brutality and beauty of it all, in symbiosis.  I plug my ears, and I can still hear the music.  I do not need my ears.  His music enters me through my heart.  His aloof, curly hair frames his face, seeming to rise and fall in slow motion.  Josh is a poet, a philosopher, a warrior, a man with needs only I can fulfill.  His pianist coaxes more chords from the keys, the orchestra swells.  I tingle.  I look off to see the guitarist fretting another chord.  I look back at Josh and he is looking directly back at me.  Through me.  Into me.  Then, the world tumbles away.

I look down and I am no longer in my seat in the theatre.  I am on a beach of white sand, surrounded by a thick, impenetrable fog.  But I am not alone.  Josh is there.  Josh and I, me and Josh.  He is wearing a white button down shirt, khaki pants rolled up to the knee, and his navy-blue tuxedo jacket.  I smile sheepishly.  He runs a hand through his curly hair and squints a little.  "Uh, hey, you sing really good," I say.  "Shhhh," he beckons, putting a finger to my lips.  He turns his back to me.  He breathes deeply and a single note escapes his lips.  The fog pulses and gyrates, being manipulated by the music.  Josh continues to sing, and slowly the fog swirls and condenses into a large mass between us.  It takes the shape of a noble steed.  We both climb on.  "Here, grab my waist." Josh says.  I do.  "You have nicely sculpted forearms," Josh comments.  "I work out," I say.  We gallop for what feels like forever, and also no time at all.  At one point, my shoe falls off, and we have to go back to get it.  I hope that Josh will use his razor-sharp extemporaneous wit to come up with a nickname that humorously recalls this incident, like "Reebok" or "One-shoe-Noah" or "Socks".  He does not. 


Eventually we slow to a canter, then to a trot.  A lone tree appears on the horizon.  We dismount and approach the tree on foot.  There are ripe, juicy pears hanging from its branches, and I'm too short to pick them, but Josh is way taller and has a better vertical so he picks a bunch.  We take seats at the base of the trunk and begin to eat.  The pears are so juicy they gush moisture with each bite.  I look at Josh and Josh looks back and we both have juice running down our faces.  Josh smiles and I smile and before long we are both laughing uncontrollably, rolling on the ground like a couple of children.  Josh pulls out a football and we play one-on-one.  Josh is a lot better than me, and every once in a while I win and I know it's because he's letting me win but I enjoy the feeling of victory all the same.
After a while the sun goes down and I get cold, so Josh loans me his dark blue tuxedo jacket, which is still perfectly cleaned and pressed, even after well over an hour of playing football.  We go back to the tree, which is uncomfortable to sit against, so I lay down and rest my head on Josh's thigh.  He looks down at me and I look up at him.  We stare into each other's eyes for some period of time, maybe days, maybe minutes.  Then all at once I understand.  I understand everything.  Why me, why here, why now.  Josh nods, because he knows that I know.  And I nod back because I know that he knows that I know.  I sit up and a lock of his hair brushes my nose.  I close my eyes.  I lean closer.  I can feel his gentle breath on my face.  Now nothing but air separates us.
"What the fuck are you doing?" I open my eyes with a start.  Josh's eyes are just inches from mine.  The eternal loving that I had seen earlier in them was gone.
 "I... I... wa.. I thought..."
 "Do I look like some kinda fag to you, Noah?"
 "No, I mean, I..."
 "What the fuck, I mean, what the actual FUCK." Josh was yelling now.  He got up and started pacing angrily, raking his fingers through his hair.
I was in near hysterics.  Everything was falling down around me.  I lost all orientation.  Struggle mode kicked in. "But...but don't you love me Josh?"
He stopped pacing and stared at me with eyes filled with blind rage.  "Love you? Goddamnit Noah! You cannot even fathom how much pussy I run through on a normal day."
"Nothing? I was nothing to you?"
"No! Goddamnit!  I was just about to do the singing thing again like I did with the horse and turn the mist into two cloud-bitches, and they were gonna suck our dicks and we were gonna hi-five during it and everything.  It was gonna be sweet.  I thought you were my BRO."
"But..."
"Get the fuck outta here."

I tumble back into the abyss. Before I can process what has happened, I am back in my seat.  Josh is still singing.  I haven't missed a second of the concert.  I take my bearings, and consider what I just experienced.  Was it all a dream?  The extraordinary performance comes to a close.  A standing ovation.  Josh exits the stage, yet my confusion remains.  I continue to ruminate on the train home.  It must have been a dream.  There's no rational explanation.  I watch the brownstones of northern Chicago leak by, and try to shake these false memories from my mind. Yet they all still felt so real.

A few days go by, and the memory fades.  My rationality takes over, and I find it easier and easier to dismiss my experience at the concert as a dream or some sort of odd hallucination. 
Four days later, I am in my room preparing to do laundry.  I am checking the pockets of my pants before I throw them in the hamper when I plunge my hand into the pocket of the pair I was wearing the night of the concert.  I feel something small and round.  A shock runs through my body.  I let go of the object and gather myself.  I take a deep breath and reach back in.  I pull it out and stare at it in awe.  A pear seed.  Then it must really have...


My head snaps to the left as a rock taps off my dorm room window.  Then another.  I go to the window and open it.  Josh is there, looking up at me.  My heart leaps into my throat.  He has come back for me.  It is all to surreal.  I finally know what it's like to be in a movie.
"I have something I want to say," he says nervously.  I pine for him.  His gorgeous eyes twinkle below me like ethereal nebulae.
We lock eyes.  Yes. Yes. Yes.  Say it.  Then, suddenly, the side of his mouth twitches upwards in a devilish grin.  I barely have time to register the movement when...
"Your still a fag!" Josh yells, while David Archuleta and Michael Bublé run out from behind the bushes and pelt me in the face with rotten tomatoes.  I collapse on the floor sobbing, tomato stinging my red eyes.  I can hear the three singers laughing and chest bumping below.
"I'm not even gay!" I yell out the window as they walk off.  I slump back down below the sill and put my head in my hands.
"I'm only gay for you, Josh."

10/1/15

Sad Moth Concert Tour Pt. 6: Blurry Concert Picz/Vidz: Gene Ween

Just a few takeaways:
  • Gene Ween is a goddamn maniac.  He drinks lemon-flavored La Croix sparkling water on stage.  I would rather drink 10 Sour Patch Kids Slurpees than one can of that vile carbonated dishwater.  It is an evil, revolting drink that I find impossible to choke down.  So naturally, it is a completely rational choice of beverage in the universe of Ween.
  • Ween fans are really, really nice. I talked to 10+ strangers before the show.  Ween is a
    common language, which I highly recommend everyone learns.
  • This is one of the best concerts I have ever seen.  I think I can safely say that I liked it more than any other concert I have chronicled in the Blurry Concert Pictures series.  And this is just half of Ween.
  • The band members are super nice. They hung around after the show and talked with people for a while.
"Yea dude, I saw that hat, I think that's a super cool hat." -- excerpt from conversation with Gene Ween Band guitarist Elijah Austin.

"Did I tell you about the time Gene Ween's guitarist thought my hat was cool?" -- me from now on.


AIDS! HIV!

9/20/15

Surf's Up -- The amazing true story of Cody Maverick

Editors Note:  This review was penned in the salad days of mid-July, 2015.  It was written with the understanding that it would be presented alongside more legitimate reviews, therein creating a humorous contrast between said legitimate reviews and this review.  Such reviews, i.e. those that are not this one, have failed to materialize in the months since this has been written.  The jury is still out, but "general lack of motivation and/or interest" is believed to be the culprit for such failings.  As a result, the review below will be published unaccompanied, and, god help us, will represent Sad Moth Music's definitive take on Donnie Trumpet and the Social Experiment's no-longer-very-new album Surf.

Consider what is written below as a window into a simpler time, a time when the author had little more to worry about but the heat of the sun and the chill of his iced tea.  Now, published on the eve of the author's regrettable return to his institution of higher learning, and hence a return to general feelings of stress, burden, and responsibility, let this review serve as a post-mordem tribute to the late, great, #Summerrrrrrrrr2015.

Warning:  Before composing this review, the author re-watched Surf's Up, an exemplary 2007 animated feature film.

I think it's important to say right off the bat that this is not a Chance the Rapper album.  Granted that many believed this to be true, I think it's important to not allow any disappointment about this album not being what it was expected to be to get in the way of evaluating what it actually is.  Dismissing this album as subpar because it's not a Chance solo album is a mistake.  It's vital to see this album in its own context, and not through whatever presumptions you had about what you thought it was supposed to be.  Just look at Cody Maverick.  He expected to be the best surfer on the beach as soon as he arrived.  Immediately he challenges reigning champ Tank Evans to a surf off, and, well...

Lol! Cody bailed so hard brah!

It takes this rough fall, and a lot of butting heads and comical hijinks with former surf legend Big Z for Cody to finally loose his ego and view his surfing talent from a rational perspective.

Consider the gif at left as a metaphor for one's enjoyment of Surf if they try to rationalize it as a Chance the Rapper solo album.  But once you meet the album on its own terms you'll be pleasantly surprised to find an album that is the product of a much broader musical community.  Granted, Chance is a dominant voice on the record, but so is Donnie Trumpet's horn, as well as The Social Experiment's trademark smooth bass, groovy synths and thumping kick drum.  But the real range on the record comes from small contributions from a large swath of musicians, which add to make up the majority of the album.  The amount of artists, some famous, some more obscure, that were gathered on this album demonstrates Chance's power not only as a rapper, but as a creative force that can bring other artists together.  Busta Rhymes epitomize's Chance's role on Surf when, on "Slip Slide" he opens his verse with "Heyoo Mr. Chance the Rapper, I greatly appreciate the way you roll out the red carpet, allowing me to articulate myself."  Chance's most important contribution on this album is not his verses, or his production, but being the central figure in the whole project, the glue that keeps the album from falling apart like Cody's first handmade board.


With so many musicians involved in the project, the album loses any chance of making a singular personal statement, but it gains range of diverse, personal moments.  Some of my favorites include Busta Rhymes' barn burner of a verse, in my opinion the best of the album.  B.o.B discusses the potency of his artistry on the same track: "If I plant one of my thoughts marijuana would grow." Chance takes a unique tack in "Windows", warning his own fans against deifying him.  Big Sean and Kyle buoyantly assert they individuality on "Wanna Be Cool", and Erykah Badu floats down from the heavens on "Rememory" with an angelic verse, i.e.: "Chancellor baybeeeeeee".

The great achievement of the album is bringing all these individual contributions together to create a singular tone -- the album is bursting with optimism, serendipity and, somewhat ironically for such a collaborative album, assertions of artistic independence.  I think that's what makes the album for me.  It's really fun to hear a record made by people brought together by a genuine enjoyment of making music with each other.  I mean, they gave the damn thing away for free.  This album exists wholly because these artists wanted it to.

 Yet, though I can say all I want about what I like about this album, I can't ignore the looming fact that some of it isn't that good.  In keeping with the inclusive, community-based feel of this album, there is a lot of instrumentation on these tracks.  Sometimes it works, but many times, the textures just get too busy, and too muddy.  Donnie Trumpet's solo tracks are hit-and-miss.  He seems to be going with a purely melodic approach to the trumpet in these tracks, which sometimes works, (Just Wait) and sometimes doesn't (Something Came to Me).  There are some out-and-out duds too.  "Questions" and "Pass the Vibes" come to mind.  And, let's be honest, if "Sunday Candy" got a bunch of radio play, everyone would be really sick of it by now.  I could go on, but in the end, I'm not sure if I care about my own criticisms.  I know I shouldn't like this album as much as I do, and I'm sure there are a couple more tracks that the other Sad Moth reviewers with think are too chummy, too boring, are mixed poorly, etc., it's just that when I criticize this album I feel like the angry old next door neighbor who calls the cops because the party's too loud.

In the end, this album is powered by an intoxicating distillation of raw, sonic exuberance, which causes me to give its imperfections somewhat of a pass.  As Big Z teaches Cody, it's not about if you win or lose, it's the about the joy of surfing.  Just like this album, Cody doesn't turn out to be the best surfer, he doesn't even win the contest, but he realigns his priorities and is able to appreciate his abilities for what they are.  So kick back this summer, put on Surf, admire it for what it is, and I think you'll really enjoy it.  Oh, and maybe add one more track onto that playlist.  It's called "Get What You Give" by a little o'l band (they're pretty obscure, not sure if you know them but I've got them on vinyl) known as the New Radicals.

Favorite Tracks: "Slip Slide", "Windows", "Wanna Be Cool", "Rememory"

7.5/10

7/27/15

80/35, Eaux Claires and the Earthman EP Release -- A Blurry Concert Pictures Opus

I'm not gonna write much because the experiences encompassed in these pictures are way too vast to summarize.  All I can say is that over the past two weeks or so I have experienced some incredible moments of raw beauty, and that none of it would have been half as fun without the people I shared them with.  This slideshow begins over two weeks ago, in Des Moines at the 80/35 festival, continues into the Eaux Claires festival in Eau Claire, and ends with a couple photos from the legendary Earthman EP release in Madison.  But I'll shut up, and let the blurry pictures do the talking.
uncookedsushi_bucket's 8035 Eaux Claires and Earthman EP Release album on Photobucket

6/15/15

Don't Just Look at the Ratings -- A Closer Look at Pitchfork's Numbers, Part 1: Genre Bias

If you clicked on this on facebook because of this
bullshit MGMT picture, you got got.  Please read
the article anyway.
I guess just a warning that this post will be unlike anything anyone is used to reading on Sad Moth.  Some of you will hate it.  Well, most of you will probably hate it.  But I enjoy doing it, and this is just the first of a series of these, so get used to it.  I guess I just ask that you try it, and don't immediately turn your brain of the first time you see a graph and go jag it instead.

It's kind of a spoiler to put my big conclusion in the second paragraph of the first post of this series, but here it is.  Don't just look at the numbers on Pitchfork.  You don't know what you're getting yourself into.  Rating music is completely subjective, and putting it on a numerical scale is even more so.  But there are some things that can be expected of these ratings.  If Pitchfork wants their ratings to mean something, they need to be unbiased in all their ratings.  In other words, if Pitchfork wants to rate every one of their albums on the same scale, they need to actually do that in practice.

6/1/15

Let's Play Spot The Sad Moth!

Sam Lyons has a great new music video, so you know what time it is! Time to play Spot the Sad Moth!



Did you spot the Sad Moth? Click "read more" see if you were right!

5/26/15

Eaux Claires Alphabet

Eaux Claires is coming up so get ready!
Here is a compiled YouTube playlist that I lazily made that has something from every artist or performance that will be in Eau Claire July 17th-18th for the Eaux Claires music festival.




The acts I'm most excited for are:

Allan Kingdom

Bon Iver

Collin Stetson 
(I'm weary about how this will be in concert)

Melt-Banana
(I am so fucking excited for these guys)

No BS! Brass Band

Spoon

\Sturgill Simpson

Sufjan Stevens
(yes)

So get pumped, and get ready for Eaux Claires this July (17th-18th). This is a good fest for Wisconsin.

Happy listening, 

Sad Moth Manny

Editor's Revision:

The only band worth watching:

Sad Moth Music has (finally) passed the Officially Official Nick Punto Fan Club in Total Pageviews

Congradu-fucking-lations to all my Sad Moth associates.  You guys think we're growing our readership, starting to carve out a niche audience?  Well we've achieved a great benchmark to success, just today surpassing the Officially Official Nick Punto Fan Club in total pageviews, eight months after our first post. Yep, we're really taking off.

But don't get too comfortable on top. "True Grit", the Officially Official Nick Punto Fanfiction, is developing a devoted cult following.  Mark my words. The Officially Official Nick Punto Fan Club will rise again.

5/18/15

Sad Moth Reviews: Kendrick Lamar -- To Pimp A Butterfly

Reviews By:

Noah                      10/10

Manny                    9.5/10

Aggregate Score:    9.75/10

5/11/15

Sad Moth Concert Series Pt. 4: The Blurriest Concert Photos Yet With Noah: Chance The Rapper

Is this a picture I took with my phone, or
a My Bloody Valentine album cover? You
tell me.
I guess nobody else is going to write about the greatest confluence of writers in the history of Sad Moth, so I might as well.  I went to Chance the Rapper at UW-Madison two  Sundays ago with fellow Sad Mothers Manny and Katie, as well as generally cool cats Nate Kaufman, Ian, and Kendall.  Mason the slimy grimy slug was also in attendance.  In addition I bumped into Levi Heirlpin, John Mayers and Oscar Biggs.

“Smoke Agaaaaaaaaain!  Play Smoke Agaaaaaaaaaaaain! … … … … … … … … … … … Smoke Agaaaaaaaaaaaain!” –John Mayers

Chance did not play “Smoke Again”.

He did play “Wonderful Everyday: Arthur”

“Dude, that was a throwback! The Magic School Bus theme!” – overheard being said by some guy who meant well, but was a cockmaster nonetheless.
My poor view was made poorer by orders
of magnitude due to this shoulder-sitting
piece of human garbage.

The stage was situated at the end of library mall, which was fine, but the whole place was perfectly flat, which meant you couldn’t see very much if you weren’t in the very front or tall.  I mean, I did get good looks intermittently, but I couldn’t tell you what color pants Chance was wearing.

Though near the end I got pretty close
Chance is a very good live performer.  He is articulate and on point with his rhymes.  He almost always remains at center stage with his mic on the stand, instead of holding it, pacing around stage and stuff.  I think this emphasizes that he is more of a front man for a band than a solo act.  His presence fit his billing—he’s not Chance the Rapper, he’s Chance the Rapper & The Social Experiment.


At one point during the performance, the
binary star system of Alpha Centauri
suddenly appeared on stage.
I guess my one criticism is that act seemed a little inevitable.  Chance has been working with the same material for a while now, and people knew what songs were coming, and he did them.  I know his new album, Surf, which seems to be coming out any time now, will finally expand upon and realize the potential people saw in Acid Rap and Chance’s other mixtapes.  If going to this performance did anything for me, it got me more excited for what’s next.

5/7/15

The Most Important Of Things: Results of the Sad Moth Fan Poll

With the addition of new writers, I am now obligated to include them in the "Best Reviewer" poll.  This also means closing the previous poll.  Below are the results.  There are not many conclusions to be drawn from the data, except that Nimbi was clearly the worst, performing about 27% below the mean.  Patrick took the top spot, but only by a vote.  I think it can be said that with the closing of this poll ends the first definitive era of Sad Moth history.  Nimbi is dead, and in the past weeks the size of the Sad Moth writing staff has grown a full 25%.  The era of the First Four is over.

Who Is The Best Reviewer on Sad Moth Music?

Patrick
  13 (28%)
Emanuel
  12 (26%)
Nimbi
  9 (19%)
Noah
  12 (26%)

Votes so far: 46
Poll closed 

5/6/15

¿Housekeeping? ¡Abre La Puerta!

Kendrick is back, (albeit a week ahead of schedule, (consult video at left)), and hip hop won't ever be the same because of it.  

Kendrick hasn't been quiet between the release of Good Kid, M.A.A.D City and To Pimp A Butterfly.  He's hopped on a wide array of tracks, artists ranging from Flying Lotus to Eminem.  He stirred things up in 2013 when he called out a litany of rappers on Big Sean's Control.  He toured Kanye's Yeezus tour.  In short, Kendrick emerged into the mainstream.  But whatever artistic statements Kendrick made during the past couple years have been dwarfed by his new album.

On the first listen to To Pimp A Butterfly, I was expecting something similar to Good Kid, M.A.A.D City.  I was listening to the tracks looking for the same thematic arch, thinking, "maybe this is the Backseat Freestyle of this album."  When I saw the 12 minute run-time of Mortal Man, I expected it to be an theatric, tone-shifting epic of a song in the vein of Sing About Me, I'm Dying of Thirst.  After the first listen, I wasn't sure what I thought yet, but I certainly didn't have an overwhelmingly positive reaction.  I realize now that my expectations of what the album should be were really stupid.  Of course Kendrick has changed since his last album, and of course Kendrick's too good to just recycle themes and material that worked on Good Kid, M.A.A.D City.  And, to anyone who hasn't listened to the album, or has only given it a cursory listen, do not trust your initial reaction to it.  This is a dense album.  Put the time into it, and To Pimp A Butterfly delivers.  

The album attempts to do nothing less than capture Kendrick's personal struggles, experiences, and journey throughout the last couple years of his life.  I'm not going to attempt to analyze all the themes in this album, there's way too much going on, and this doesn't need to turn into a literary analysis paper.  Though the fact that a formal analysis of this album is possible shows the kind of depth that Kendrick accomplishes on this album.  The central conflict, above all other themes, is Kendrick trying to rationalize his existence as both a public figure, whose words are heard and believed by millions, and a deeply flawed human being.  From this central conflict emerge the themes of the album.  Depression, survivor's guilt, institutional racism, sex, police brutality, political and social hypocrisy, the pressures of fame and Kendrick's self-awareness of his position in Hip Hop culture.

The production on the album is incredible.  I think the production on To Pimp A Butterfly has the most cohesive aesthetic of any of his albums.  Kendrick has truly brought rap back to its roots. Jazz and Funk are present in both samples, (James Brown, the Isley Brothers) as well as contemporary performance (Thundercat, Terrance Martin).  TPAB does not bang pe se. It grooves.  And that's an amazing thing.  When I'm feeling the beat listening to TPAB, I'm digging the song in a way, viscerally, that no other rap album really does for me.  I don't know how to describe it beyond that, but this gif I found in the comments section on Rap Genius does a pretty good job.
"Da funk be like"
Titled: "Da funk be like"
 Sure, there's been jazz-hip hop in the past, and plenty of funk bass lines are used in rap, but this is something new, I think.  And, though TPAB heavily utilizes sounds of the past, no one would say its too concerned with the oldies, or not hip.  The jazz and funk aesthetics are blended with more conventional, hip-hop production similar to production on Kendrick's past albums, as well as other sounds of the present (Sufjan Stevens, Bilal, Anna Wise).
Cutting edge producers Flying Lotus and Pharrell were heavily involved in the production process.  In all, the music is great. It's production that eludes to and expands upon the musical lineage that this album is joining and advancing. 

The true power of To Pimp A Butterfly is its relevance.  Kendrick is the king of hip-hop, and there may be no more culturally important King of ____ in America, or in the world, today.  The King of Pop is dead.  The King of Pain is still making good music, I guess. The King of Queens is in syndication.  Does the King of Saudi Arabia have the ear of nearly as many fans?  Kendrick is among a very select circle of artists that has the ear of the nation, to the degree that it can be achieved at all.  And amongst those few, he’s one of only a handful to really say something impactful. 

When Kendrick calls himself a prophet, you don’t scoff, you wonder how he feels about it, and he tells you.  Kendrick demonstrates this incredible self-awareness of both his own feelings, and how those feelings are relevant to his music.  The truth is, Kendrick is scared by is influence.  He knows that he’s a flawed individual, and he knows he fears being abandoned by his fans, and his public.  In Mortal Man, he references Michael Jackson, as a prime example of what can happen to someone in his position.  

"That nigga gave you Billie Jean, you say he touched those kids?
When the shit hit the fan, is you still a fan?"

I can talk on and on about the power of this album, but I’m deviating from the purpose of this post: how good is To Pimp A Butterfly?   Really good.  Really really good.  I think I should acknowledge that this album is so good, the question I’m really debating here is: Is this album a 10/10?  Talking to Manny about the album, he seemed worried that everyone, people whose opinions he respects, the people whose opinion he completely disregards, likes this album.  I don’t think that’s a problem.  The fact that anyone and everyone can recognize this album as a classic means that not only is it a classic, it’s an admirably accessible one.  Another question that was posed to me:

"Yeah, but does it have bangers" -- Noah Wong

A completely stupid question, for sure, but one with a legitimate answer.  To Pimp A Butterfly doesn't.  It just isn't that album.  King Kunta peaked at 58 on the Billboard Hot 100.  No, there are no stand out bangerz, nor are there any tracks that you can point to and say "that that is TPAB in a nutshell".  The album is not succinct, and it can't be summarized.  Though King Kunta seems to have been anointed as 'the single' from this album, this very well may be just because it got leaked first.  I personally thought Alright was 'the single' on first listen.  This album is certainly playing the long game, and only time will tell if more tracks gain steam and more people begin to 'get' the album.

When I started writing this review, I thought I would come up with enough complaints to be able to justify a lower rating.  But the more I write about it, I only find more to love about it instead.  (Rapsody's verse, George Clinton's appearance are great. And check out the wheelchair dude, the gold chainz kid, pimp-cane pop'n'lock it dude, the c-list bitches, and pretty much everybody in the background in the King Kunta video).  The only thing I can think of is "not popular enough", but that's not really a criticism of the art, only it's reception.  

I've tried to rationally critique this album, but maybe I'm just too blinded by my personal investment with Kendrick Lamar.  I strongly associate Good Kid, M.A.A.D City with a specific time in my life, junior year of high school, when I was first able to drive to school and cruised around in my Chrysler Town & Country bumping Sing About Me I'm Dying of Thirst and feeling like I was on the deluxe cover art.  This year, I found myself driving west through the southern Wisconsin countryside into the orange late-afternoon sun, winter quarter over with a week of spring break ahead, and To Pimp A Butterfly on the stereo.  Maybe I just have too much allegiance to Kendrick, an irrational infatuation with this music that is blinding me from its issues.  Maybe I'm wrong, but I guess that's for you to decide.  For me, I've got too much personal experience and enjoyment wrapped up in this great artist, and this amazing music, and I can't give it any lower of a rating.


10/10

Favorite Tracks: Wesley's Theory, King Kunta, These Walls, Alright, Complexion (A Zulu love), Mortal Man