Not content or creator. Looking back 6 years ago, it's hard to deny that that album is wildly creative. It summarizes an entire decade musically through both creativity and outright theft in a way that I think only gets more interesting to talk about and listen to the further we get from it. Like it or not, there was a lot more going on with that album than "I made that bitch famous" and "I get bleach on my t-shirt, does that make me an asshole?"


I think I said this in my original post about expecting/hoping for a Pablo-like album from Kendrick (after 2 weeks, I don't care what my hopes were any more, and I like this album even more than the critique I shared below might imply) but I'm just surprised that type of genre-hopping, culture-consuming yet huge sounding and frontwards looking type of production remains confined to, like, JPEGMAFIA and I guess all the dudes that are emulating Juice WLRD and Lil' Peep despite (IMO) even those dudes not fully realizing by half what the sound they were chasing could be?


Maybe a TL;DR is, I feel like Pablo was the last time I was totally caught off guard by an album. The new Billy Woods shakes me by my ankles, and Kendrick has me all in my worst self-ideations these days, while I love that I truly enjoy a Denzel Curry album front to back for once - but I couldn't say these albums kept me guessing or had me curious if the genre could be different. Despite all the chaos surrounding Pablo (and I've got a hard drive with 9 versions of that record to prove it) I think it's facetious to say that wasn't a very cool, probably wildly out of reach in terms of affluence effort from all the dudes that wrote verses for and pounded out beats Kanye could put his name out in front of.


EDIT: Forgot to say, if you don't hear "Fade" regularly, you oughta work near a gay nightclub.


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"This is the streets, and I am the trap." � Jay Bilas
http://www.popmatters.com/pm/archive/contributor/517
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