Kendrick Lamar- DAMN. Track By Track Breakdown

DAMN.

Track 1- BLOOD.

Blood presents itself as a perfect introduction to the main themes of the album. Death, Life and struggle are all present in the tracks the opening lines.

Is it wickedness?

Is it weakness?

You decide

Are we gonna live or die?

The dichotomies here are clear throughout the album. Wickedness defined as an attitude that is rash, narcisstic and powerful, and weakness being one of more vulnerability, and each song in the tracklist falls under these headings. More importantly, Kendrick is shot by a “blind woman”. The blind woman alludes to the symbol of Lady Justice, highlighting despite the seeming nature of a non-bias court and judicial system, her fear of the threat of Kendrick, a black man, is still present. (Also a wicked response to someone within a weak situation).

Track 2- DNA

After a misinterpretation of lyrics from Fox News presenters, the tension is sliced by Kendrick Lamar on an aggressive, “wicked” track, DNA. Here, he takes a warlike pride in his heritage and culture. Kendrick’s delivery is belligerent, matching the aggression in the trap flavoured beat produced by Mike WiLL Made-It. On DNA, Kendrick is proud of his black heritage, and is his message to the Fox News readers is clear and unapologetic, and quite literally a “Fuck You” message to the news reporters. On the 2nd verse he attacks the public figures that manipulate or exploit his proud DNA, describing it as something that’s not up for imitation.

Track 3- YAH

On this religiously directed track, YAH refers to the Hebrew word, Yahweh, a Hebrew word for god. The beat produced by Anthony "Top Dawg" Tiffith, Sounwave & DJ Dahi is one that slows down the crazy pace of the introduction of the album. It’s smooth, catchy and nearly heavenly. Even though this track is not as lyrically dense, the track openly rejects the stereotypical hip-hop lifestyle of “money and bitches” and to not let the fame of his position drive his decisions. There is a clear contradiction on this track to the one before, on YAH Kendrick states

“I'm a Israelite, don't call me Black no mo'

That word is only a color, it ain't facts no mo'

This removal of the black image in these lines contradicts Kendrick’s boldness and pride in his black heritage and culture on DNA.

Track 4- ELEMENT

The beat on this track is slightly more minimalistic, drawing more attention to Kendrick’s vocal. The percussion is expressive and is accompanied with a chilling keyboard melody. Kendrick describes himself as the most dominant rapper in the industry, calling out his competitors to try and match him. This is a clear dichotomy within this track. The hook itself, is almost comedic.

If I gotta slap a pussy-ass nigga, I'ma make it look sexy

If I gotta go hard on a bitch, I'ma make it look sexy

I pull up, hop out, air out, made it look sexy

They won't take me out my element

Nah, take me out my element

Here whether he is throwing disses like on The Heart Part IV, getting girls, going out, Kendrick puts his signature touch and swagger on it, making it “look sexy”. Despite the tongue in cheek nature on the chorus, Kendrick uses a significant piece of imagery in the verse. For the first time his isolation is obvious, he claims that nobody is “praying for me”. Here we are first presented with his internal conflict.

Track 5- FEEL

“Aint nobody praying for me” becomes much more prevelant in this song. Here, we enter Kendrick’s inner insecurities and worries. This track sits nicely with “FEAR” later in the tracklisting, where Kendrick becomes more aware of the threats within his life. We gaze into the void of “Kung-Fu Kenny’s” isolation, as his fame tears apart many of his close family and friendly relations, similar to many of the themes on his previous LP “To Pimp A Butterfly”. The production is also an ode to this era of Kendrick’s career, produced by Sounwave, the live instrumentation setting the sinister tone, really bringing out the disillusion presented in the lyrics.

Track 6- LOYALTY ft. Rihanna

This is one of the songs I do not care for on the album. The track is a potential radio pitched song. Rihanna’s vocals are auto-tuned, and Kendrick’s bars seemingly filler, the track seems to lack in most departments. The pair explore the importance in loyalty in sexual, friendship and family based relationships. The sample at the start and throughout is a chopped, reversed, and pitched version of the intro of Bruno Mars‘ “24K Magic,” sung by Mr. Talkbox (Genius Contributor, utdeo).

Track 7- PRIDE

Oh my goodness this track is amazing. The beat produced by Steve Lacy alone is glorious, the 80s feel on the guitars accompanied with Lamar’s vocal sweeping melody creates an amazing vibe to nod your head to. Lamar borrows from Andre 3000 style vocal delivery on the hook and vocal pitching out of Frank Ocean or Chilidish Gambino’s tool box. This makes for an extremely unique experience for a Kendrick Lamar track. Anna Wise's background vocals are also amazing. Lyrically, this song is also one with religious connotations. PRIDE, is known as the original and most deadly of the Seven Deadly Sins. As Kendrick recognises he is one of the best rappers alive, this creates a mental conflict with his personal ideals and beliefs. Even though he is a man of faith, his current position in the hip-hop world and the vices and choices he makes create singificant inner tension. He foreshadows the concept of Humility, one key in the next track.

Track 8- HUMBLE

Produced By Mike WiLL Made-It, this track lifts the tempo from the last couple of tracks. This track criticised the hedonistic, materialistic nature of the music industry. Its position within the track listing is vital, after his confusion and fear on PRIDE, this track acts as an antithesis, or moment of realisation for Kendrick. The glitch piano, the bumping trap beat and the straightforward lyrics give this song a pretty strong pop appeal. If you’re reading this you’ve probably had some time to formulate an opinion on it, the lyrics are literal, absolute banger.

Track 9- LUST

This track, seemingly centred around sexual desire attacks and criticises the mundane nature of people’s life as shameful. He raps as two characters, in a lower, less energetic key, highlighting the boring predictability of the lifestyles which they lead. The man described in the first verse the man lives through the horrid stereotypes created by mainstream Hip Hop culture, drugs, guns, money and sex. He has therefore fully committed his life to these lustful desires, ultimately being a wasted member of society. In the second verse Lamar reflects directly on himself, where the satisfaction of his lust has become mundane, showing that no matter the person, everyone has their lustful vices.

Track 10- LOVE

Also didn’t really care for this track. Kendrick tries his hand at a drake style, singy, angsty, love ballad. Unlike many of his other love songs, that are deceptively about a deeper meaning through the allusion of Love, this track sees Kendrick riding a glitzy modern beat, showing a softer side. Its spacious, its pretty you get the point.

Track 11- XXX ft. U2

Holy Moly. The first beat on this track is easily the hardest on the entire song, Kendrick comes in aggressively over the trappy, siren melting pot of insanity. Its pure chaos. He is braggadocios, talking through his accomplishments on the streets. His violent response to his friend who just lost their child also continues the Nihilism which was earlier presented on “PRIDE”. After the beat deconstructs into a whirlwind of screeching tires, gunshots, police loudspeakers, Kendrick Lamar puts on his social conscious cap. The Drum and Bass Bono describes on his hook refers to the sound of gunshots in the first verse/beat. His second verse calls out the hypocrisy of the Great American dream, and the instilled violence of America. Whether its in foreign policy, racism, gang banging, and of the portrayal of black community by the media or politicians.

Track 12- FEAR

On this track, Kendrick explores how fear has driven his decisions and anxieties throughout his entire life. He reflects on the 3 decades in his life, when he was 7,17 and 27.

Verse 1 (Age 7)- Here, Kendrick’s fears are driven by the understanding of rules set by his parents and within his home environment. A vast and prolific amount of domestic violence is explored within the verse, driving his anxiousness.

Verse 2 (Age 17)- At this age, Lamar fears for his live living in Compton Claifornia. At his doorstep is gang violence and police brutality. He lists a massive range of ways which he could die, further adding to the fear which was presented to him at this age.

Verse 3 (Age 27)- Here Kendrick fears the life in which he built for himself, similar to his previous LP, To Pimp A Butterfly. He fears being judged, his depiction in his community, in the media, his relationship with god and his money.

Track 13- GOD

Another track that was not so memorable. It’s very similar to loyalty, its crisp, poppy and low key, perfect for that radio/commercial appeal. The hook his catchy, and will be stuck in your head. The track is a triumphant, parade like victory lap for Kendrick finding success in God. Its trappy, it hardly sounds like Kendrick Lamar, and he seems to nearly be mocking Soundcloud rappers. The track however does play nicely into the slowing down and ending of the album, and nice simple and calm lead in to the closer, DUCKWORTH.

Track 14- DUCKWORTH

Here, Lamar’s battles with compulsions to tear himself down are at their highest. With reference to Tupac, the line that sums up the album best is,

“It was always me versus the world

Until I found it's me versus me.”

The track is one long verse, that leads to the entire album being reversed all the way back to the first words of the narrative. The his wordplay, and ability to work with syllables is absolutely immaculate. The track ends with an amazing story of how Anthony Griffith (Top Dawg founder and CEO) attempted to rob Lamar’s fathers store which he worked. If he had shot him, Kendrick would have led a different life, and either be killed or locked up. He pays homage to Griffith, an amazing way to end a spiritual album.