On both Section 80 and Good Kid m.A.A.d City, Kendrick Lamar widely exhibited a trademark capacity to adapt his flow and…
On both Section 80 and Good Kid m.A.A.d City, Kendrick Lamar widely exhibited a trademark capacity to adapt his flow and incisive narratives to varied beats, uniformly out of left-field. His vocal permeability in the context of richly innovative production has been proven but, no doubt, there are production-wizards for whom some would pay good money to see tossed into the ring with the Black Hippy wheelman.
Personally speaking, Californian enigmas like Madlib and Flying Lotus were at the top of that list; the former for his treasured sampling and the latter for his idiosyncratic electronic experiments and reinventions of his toponymous home-sound. Lucky, then, that the last-mentioned wizard and Lamar linked up to fashion the hyperactive trip that is ‘Never Catch Me’, which is every bit a headphoned tug-of-war between the two virtuosos.
Progressive and unflagging, the post-jazz split-cap finds FlyLo unbeatable on his home-turf. And while Kendrick’s zealous thrusts are convincing over the characteristically West-Coast piano-loop, it’s quickly understood from the beat-maker’s absorbing sortie that things have been on his terms since the beginning.