What a surprise! One of the biggest musical artists of our generation, Kendrick Lamar, who is having an incredibly successful year, has dropped a surprise album to close out 2024—and let’s just say, it’s an impressive effort. K. Dot delivers an album filled with unique tracks, seamlessly blending west coast-inspired beats, like on “Squabble Up,” with soulful 70s R&B, showcased in “Dodger Blue.” His aggressive flow and masterful lyrics create a powerful statement, making it clear that he’s not playing around anymore. He’s here to prove his worth to the music game, and after years of hard work, he’s collecting his flowers now.

It’s hard to pinpoint the strongest aspect of this album—whether it’s the beats or his lyrics—but I’d have to say that the beats are truly remarkable. They’re so varied and unique that they make each song stand on its own. The album opens with the menacing “Wacced Out Murals,” where horns in the background build tension, while the low, dark beat sets a haunting tone. Then there’s “Luther,” which brings silky, soulful vibes with subtle beats that swell with violins, giving the track a rich, soulful feel. The classical instrumentation in “Reincarnated” adds a refreshing touch, giving the song a raw energy that’s impossible to ignore. And the closing track, “Gloria,” takes us back to a 70s-inspired sound, with a slow beat, soft bongos, and an analog feel that gives the song a cozy, almost intimate atmosphere. Female vocals offer a different perspective, rounding out the track and giving it a sense of completeness.

The production across the entire album is clear, well thought out, and each song transitions smoothly into the next. Then there's “TV Off,” with its abrasive, aggressive energy that somehow works incredibly well. On the other hand, “GNX” has a disjointed, experimental beat that can be a bit distracting and janky at times, but it still has its own charm.

Kendrick’s lyrical performance on this album is just as impressive as the beats. His range spans from anger and rage to sweet sincerity. In the opening track, “Wacced Out Murals,” he comes off pissed, carrying a chip on his shoulder with raw intensity—though at times, his vocal play can feel a little cheesy. On “Squabble Up,” the use of backing vocals elevates the track, adding aggression and depth. Then there’s “Man at the Garden,” which has soft, Phil Collins-esque vibes with Kendrick’s more restrained vocals. Despite the soft sound, the track exudes aggression, especially in the underlying hums from the backing vocals. Kendrick’s lyrics are bold and assertive, as if he’s finally claiming what’s his. On tracks like “Hey Now,” where he raps, “The Black Noah, I just strangled me a goat,” or “Squabble Up,” with the line “Let the wolves out, I’ve been a dog,” it’s clear he’s not holding back—he’s here to make his mark.

“Peekaboo” is another standout track with some great lines, but the repetition can be a little distracting at times. All in all, this album feels like Kendrick has finally unleashed the full force of his artistry, tapping into something he’s been holding inside for a while. This record cements why he’s the top dog in the rap game right now.