Kendrick Lamar is better than Soundgarden

[VinylGuy]

I really like the vibe of the new DAMN. its better than the original one.

[epilogue]

Finally got around to listening to Damn. Really dug it.

[epilogue]

To me, Blood and DNA are as inseparable as Pry to, and Corduroy. It's all just one song. And I see now that there's a version of the record with the tracks in reverse order. Which is cool... but there's no way DNA into Blood is as powerful and perfect as Blood into DNA. What a fucking insane way to begin an album.

[LoathedVermin72]

I always skip BLOOD lol

[epilogue]

I always skip BLOOD lol

I mean, I totally get that. But to me they are one track.

[VinylGuy]

To me, Blood and DNA are as inseparable as Pry to, and Corduroy. It's all just one song. And I see now that there's a version of the record with the tracks in reverse order. Which is cool... but there's no way DNA into Blood is as powerful and perfect as Blood into DNA. What a fucking insane way to begin an album.

I prefer the new reverse order album.

[epilogue]

After listening to TPAB and Damn. a couple of times each, it seems beyond obvious that white culture at large would revere and honor Damn. more than TPAB. Of the two, it's the only choice to win a Pulitzer, really. TPAB is far superior in composition. The music is much, much more interesting and effective and spans more ground. But the lyrical content is difficult. It's way too "black" for most white people. Damn. is stripped down and far more accessible. It relies on beats and hooks and samples and slick production. But the lyrics are less aggressively "black" (by which I mean, less exclusive to black culture and more relatable across all American cultural sub-sects) and seem to rely on morals and objectives more than TPAB.

Damn. feels more inclusive, like someone who has something to say and wants to be heard by the widest audience possible. It's a powerful record, for sure, and stands on its own, outside of political interrogation. Or it should, anyway. But conservative white people won't have as difficult a time relating and liberals will certainly see themselves in the record far easier.

Of the two, to my point, Damn. is the one I like more. The one I find more accessible and listenable. It's the one I'll continue to return to most often, I think. But TPAB is, to me, the far more interesting/difficult/rewarding record.

And just to be clear, this isn't meant to speak to any of the people posting in this thread or how they've reacted to either record. There are plenty of people from various backgrounds who appreciate all kinds of music on their own terms and with open minds. I'm really just commenting on why the Pulitzer committee would focus on Damn. more than TPAB. Both records, I think, are absolutely worthy of the highest praise. Both are worthy of a Pulitzer Prize but it doesn't surprise me that Damn. is the one that got the attention. If that makes sense.

[epilogue]

To me, Blood and DNA are as inseparable as Pry to, and Corduroy. It's all just one song. And I see now that there's a version of the record with the tracks in reverse order. Which is cool... but there's no way DNA into Blood is as powerful and perfect as Blood into DNA. What a fucking insane way to begin an album.

I prefer the new reverse order album.

Yeah, I've seen people talk about it. But I don't think DNA/Blood is as interesting as a closing combo and Blood/DNA is as an opening combo. That opening is unfuckwithable.

[LoathedVermin72]

I’m not sure that post holds water TPAB considering TPAB was generally more acclaimed than DAMN. I also think DAMN is easily the more accomplished and complex album. TPAB just announces its consciousness more loudly.

[epilogue]

I’m not sure that post holds water TPAB considering TPAB was generally more acclaimed than DAMN. I also think DAMN is easily the more accomplished and complex album. TPAB just announces its consciousness more loudly.

Fair enough. I've only listened to each a couple of times. But in listening to Damn., it doesn't seem anywhere near as complex to me. And again, TPAB being more widely acclaimed doesn't affect what I'm getting at, which is really just an indictment of the Pulitzer committee. My post probably could have just been:

"I like Damn. more but it makes sense that an out of touch and myopic organization like the Pulitzer committee would choose to honor it over TPAB because really what they're doing is honoring both records, much the same way the Oscars give actors the award for lesser performances the year after the lost the category they should have won."

Still, I think both records are pretty brilliant. And I look forward to listening to each again. Though, gun to head, I'd say I prefer Damn. after these initial visits.

[LoathedVermin72]

I......don’t know about that

[epilogue]

Okay.

To be fair, I know very little about the Pulitzer's musical selection team/process. But if it's anything like their literary and drama process, then I'm pretty confident in my perception/analysis of what went down.

Either way, I really dig these two Kendrick Lamar records and I'm glad I finally dove into his music.

[tragabigzanda]

[epilogue]

After listening to TPAB and Damn. a couple of times each, it seems beyond obvious that white culture at large would revere and honor Damn. more than TPAB. Of the two, it's the only choice to win a Pulitzer, really. TPAB is far superior in composition. The music is much, much more interesting and effective and spans more ground. But the lyrical content is difficult. It's way too "black" for most white people. Damn. is stripped down and far more accessible. It relies on beats and hooks and samples and slick production. But the lyrics are less aggressively "black" (by which I mean, less exclusive to black culture and more relatable across all American cultural sub-sects) and seem to rely on morals and objectives more than TPAB.

Damn. feels more inclusive, like someone who has something to say and wants to be heard by the widest audience possible. It's a powerful record, for sure, and stands on its own, outside of political interrogation. Or it should, anyway. But conservative white people won't have as difficult a time relating and liberals will certainly see themselves in the record far easier.

Of the two, to my point, Damn. is the one I like more. The one I find more accessible and listenable. It's the one I'll continue to return to most often, I think. But TPAB is, to me, the far more interesting/difficult/rewarding record.

And just to be clear, this isn't meant to speak to any of the people slamming keys in this thread or how they've reacted to either record. There are plenty of people from various backgrounds who appreciate all kinds of music on their own terms and with open minds. I'm really just commenting on why the Pulitzer committee would focus on Damn. more than TPAB. Both records, I think, are absolutely worthy of the highest praise. Both are worthy of a Pulitzer Prize but it doesn't surprise me that Damn. is the one that got the attention. If that makes sense.

i agree with all of this except for one major distinction: the more i listen to TPAB, the less rewarding it becomes. there's a lot of vibey filler that bogs down the high points. to what extent i'm not connecting with those parts because i'm not black, i couldn't say for sure -- but i really don't think that's the case. i do love miles davis, herbie hancock, max coach, thundercat, etc etc...

i hear TPAB as an unfocused explosion of thoughts and emotion, and whole swaths have come to feel sort of tedious with time. DAMN's focus, consistent vibe, and shorter run time are what make that album so easy to enjoy front-to-back; i don't think it has much of anything to do with the lyrics (though i agree they are more white/radio-friendly on DAMN).

All excellent points. And I admit again that this is all based on listening to each album only twice front to back. I have no idea nor any real expectation on how each will grow or change with long term, repeated listening. It's entirely possible that in a few years, I'll totally agree with you (and others) on this. My post was really just a "first impression" style reaction.

To me, TPAB is far more ambitions and aurally dynamic. It reminds me (and I admit this is filtered through my own experience and limited exposure, not in any real quantifiable comparison) of something like Tom Wait's "Bone Machine" in it's texture and complexity and depth. It's an aggressive and difficult listen but so much more interesting than say... "Alice" or "Swordfishtrombones (both dynamite and rewarding albums)"

Again, I like Damn. more after two listens. I just wonder if I'll grow to ultimately like TPAB more as time goes on because it's the more difficult and challenging album. I tend to like shit that attacks me sideways. And I have no idea if the Pulitzer committee looked at TPAB for consideration. But if they did... it doesn't surprise me that they shied away from it. If what they're really looking at is a language and a representation of American life and culture at a specific time, both albums clearly apply. Though, again, I imagine, if the committee is made up of a bunch of white dudes, they might be more bothered by TPAB than Damn. as far as that language and depiction goes.

Maybe not. It's conjecture on my part, to be sure. It just makes sense to my ears.

[VinylGuy]

Yeah i dont really give a DAMN about the pulitzers. They are as stupid as the oscars.

[Kaius]

can’t even take this talk seriously if we are going to act like “good kid, m.a.a.d city” doesn’t exist

[epilogue]

can’t even take this talk seriously if we are going to act like “good kid, m.a.a.d city” doesn’t exist

That one's next. I excited to hear all of his stuff.

[LoathedVermin72]

As far as I’m concerned, there’s DAMN, and then there’s a handful of great songs on albums that are annoying to listen to front-to-back.

[Kaius]

As far as I’m concerned, there’s DAMN, and then there’s a handful of great songs on albums that are annoying to listen to front-to-back.

[LoathedVermin72]

gross