Kendrick Lamar mr Morale

GNX is the sixth studio album by American rapper Kendrick Lamar. It was released as a surprise album through PGLang and Interscope Records on November 22, 2024. Titled after the Buick Regal model, and a follow-up to Mr. Morale & the Big Steppers (2022), GNX is Lamar's first album after his departure from Top Dawg Entertainment and Aftermath Entertainment. Lamar and Dave Free executive produced the album, which features uncredited appearances from AzChike, Deyra Barrera, Dody6, Hitta J3, Ink, Kamasi Washington, Peysoh, Roddy Ricch, Sam Dew, Siete, SZA, Wallie the Sensei, and YoungThreat.

GNX is the sixth studio album by American rapper Kendrick Lamar. It was released as a surprise album through PGLang and Interscope Records on November 22, 2024. Titled after the Buick Regal model, and a follow-up to Mr. Morale & the Big Steppers (2022), GNX is Lamar's first album after his departure from Top Dawg Entertainment and Aftermath Entertainment. Lamar and Dave Free executive produced the album, which features uncredited appearances from AzChike, Deyra Barrera, Dody6, Hitta J3, Ink, Kamasi Washington, Peysoh, Roddy Ricch, Sam Dew, Siete, SZA, Wallie the Sensei, and YoungThreat.

Noname’s first album in five years is a cool and masterful interrogation of the culture. She's taking everyone’s name—including her own. Sometimes the only way to work through the bullshit is to point at your close friends and ask, “Do you all see this, too, or am I bugging?” Their confirmations stop you from feeling like you’re on a different planet from everyone else. That’s the driving force behind Noname’s first project in five years, the eye-opening and disruptive Sundial. On the first track, with her typical buttery, head-in-the-clouds delivery, she raps, “We smokin’ positivity like dust, trust.” It’s a cutting quip: She’s fed up with anti-critical positivity, the kind that leads corporations to dress up and commodify Black art, turning an artist’s politics into a commercialized performance. She has no time for the idea that It’s all good as long as they’re Black, no matter what they’re selling. Sundial pushes back against that complacency in a real regular-person kind of way. It’s not preachy or too heavy. Noname is not trying to sell herself as a revolutionary. She’s also unafraid of biting self-reflection that leaves her own contradictions out in the open. In rap, where it’s so often about seeming indestructible, hanging yourself out to dry is a gutsy move.