Anniversaries: Kendrick Lamar EP by Kendrick Lamar
After years of dropping mixtapes under the alias of K. Dot, we are introduced to the stage name of an MC that would change the game in years. However, the foundation started with this project.
Kendrick Lamar frequently garners regard as the “greatest rapper alive” based on evidence of lyrical proficiency, detailed phrasing, and the capacity to connect with a broad audience. He did not emerge fully refined. JAY-Z worked quietly on his skills before Reasonable Doubt, and Lamar exercised a similar effort. He recorded minor cameos, absorbed guidance from key mentors, and waited until conditions suited a confident presentation. Lamar recalled that the Hub City Threat took form around 2004 or 2005, which placed him near age 16. Freestyling over “How We Do,” known from late 2004, suggests completion close to age 17. The tape remained obscure until eleven years ago.
Before reaching No Sleep Til NYC (2007) with Jay Rock, Lamar already benefited from TDE’s stewardship. His earlier project, Training Day), improved upon the debut through multifaceted sonic structures and included clips from Training Day, where Denzel Washington proclaimed, “King Kong ain’t got nothin’ on me.” While certain lines caused minor disapproval, his holistic proficiency grew markedly. Eventually, alongside Ab-Soul, Punch, and Bo atop retro ’80s and ‘90s instrumentals, he found a riveting platform that indicated tangible evolution.
As Wayne’s No Ceilings, broadly seen as the last notable stretch of his “best rapper alive” tenure, appeared, Lamar introduced a lengthy homage referencing Tha Carter III, claiming Wayne’s acknowledgment. Previously, Wayne had contributed to a Jay Rock track originally slated for Follow Me Home, later reissued by Tech N9ne’s Strange Music in 2011 following label upheavals. By the time Lamar’s C4 arrived, drawing upon a year-old, widely familiar source seemed off-target. Within C4, specific segments were interesting, if ultimately superficial. “Compton Chemistry” framed a crack-cooking role over David Axelrod’s “Holy Thursday.” Conversely, “West Coast Wu-Tang,” including Ab-Soul and Punch, represented modest enhancement.
At over an hour, this EP surpasses typical short-form expectations. Opening with “Is It Love,” echoed blip-like synths, gentle jazz beats, and delicate string accents accompany Angela McCluskey’s hook. Sometimes, it recalls Massive Attack. Kendrick Lamar delivers measured verses examining upbringing, ambition, and influences over time. Turning next to “She Needs Me,” a shift toward R&B colors emerges through warm, lightly spaced synth and stable drum patterns. The lyrics describe an ideal partner marked by intelligence, determination, and openness, leaving Lamar appreciative of this bond.
Moving into “Faith,” a soulful backdrop questions the difficulty of holding onto belief under adversity. Lamar’s final thought favors embracing faith, recalling a Pascal-like stance, though this reasoning might frustrate them. Contributions from Punch and BJ the Chicago Kid enrich this track. Later, “Trip” draws on brighter R&B elements and mild coastal hints. Lamar highlights personal progression unhindered by compromise. Certain synth parts seem weak, but the setting remains relaxed enough. Suddenly, “Wanna Be Heard” appears, shaped by a rich musical setting and intense wordplay. Detailing remembered hardships, guiding figures, and unwavering dreams, these verses stand as a junction of pride and respect for the early support that paved a forward route.
Absorbing “Vanity Slaves” on the Foreign Exchange cult classic brings forth an inquiry into material obsessions rooted in the economic struggle among black populations. Glittering chains, prestigious labels, expensive cars, and similar tokens register as false emblems of status. The composition relies on sparse layers and a subdued, regretful synth phrase. More extended than usual, “Let Me Be Me” persists in urging sincerity and self-trust, rejecting external doubts. Meanwhile, “I Am (Interlude)” rides a clavinet phrase from Q-Tip’s “Believe” as assured improvisation projects future dominance. The later confirmation of these words is now evident.
Prior encounters bring forth “Far From Here,” resting on sparkling boom bap templates with funky low-end notes and snapping percussion. Lamar and ScHoolboy Q seem cornered by mental strain, hoping to shed their burdens momentarily. Straight and unembellished, the piece provides easy relief. “Thanksgiving,” on the other hand, embraces a bigger presence, introducing fuller brass calls and heavier drum patterns. Lamar’s emphasis sharpens, matched by Rapper Big Pooh’s confident declarations. Though it may not break ground, it brings a serviceable uptick that feels fitting enough.
Near the end, “Determined” enters as a simple boom-bap structure, outlined by mild string riffs and quiet brass. Lamar concentrates on honest routes and lasting work through hardships. The late Ash Riser supplies a muted refrain, encouraging a modest final uplift. Reflecting on the Kendrick Lamar EP, shortcomings appear in muddy mixing and some low-grade production. Specific selections sound flimsy, though not entirely wasted. A handful of awkward lines dampen lyrical strength. Even so, at this point, preserving such resolve remains noteworthy.