On Nov. 22, Kendrick Lamar released a 12-track album titled “GNX,” featuring Grammy-winning artist SZA and several other artists. The lack of any prior promotion is reminiscent of the series of diss tracks Lamar dropped earlier this year, with the record label UMG discovering “GNX’s” release the morning of. After long-standing tensions between Drake and Lamar turning into the biggest rap battle in years, Lamar arguably won after dropping “Not Like Us,” the first rap diss to earn the Grammy nomination for Song of the Year. “GNX” serves as Lamar’s victory lap, in which he concludes the rework of his image from a Pulitzer-winning poetic superstar to the prideful gladiator of L.A. In a mix of vengeance and gloating, hip-hop’s greatest vigilante criticizes the industry and cements his greatness.

The album name, “GNX,” refers to a car, more specifically, a black Buick Grand National. This is the same car that Lamar was brought home in as an infant as his father played Big Daddy Kane tracks on the radio. It’s another detail that grounds Lamar in L.A culture, an origin story baked in the streets, sounds and struggles of the city that shaped him.

GNX follows perfectly in line with the message of “Not Like Us,” a man with a mission, steadfast to his morals, values, and beliefs. It’s the same intense narrative that pushed him through his cataclysm of disses against Drake. Mustard, who produced “Not Like Us,” returns, producing “hey now” and “tv off,” combining Lamar’s punchy delivery of phonetic, interactive lines with a drumline that reflects the popular West Coast G-funk. Overall, the production is satisfyingly consistent, with samples that don’t overbear the lyrics and enjoyable funk beats. 

Lamar includes tracks that are reminiscent of his 2017 album “DAMN.” They show in “wacced out murals” and “reincarnated,” which by themselves aren’t the most enjoyable to listen to. They lack listenability with Lamar focusing on storytelling over music. Despite that, they make up for it through raw power, as Lamar takes on a villainous persona in the first track, “wacced out murals.” Starting off strong, with a dual track of Spanish opera samples and an ominous beat, Lamar hits the audience line after line about isolation among success and old friends who have failed to support him. Again, he delves into deeper themes in “reincarnated,” engaging in a conversation with God, his inner voice. Like the name entails, Lamar discusses rebirth and self-discovery in a carefully woven story about past lives, his previous artful form peeking through the rest of his tracks. 

All in all, “GNX” is a canvas. With its rough edges and obvious brushstrokes, it’s clear Lamar experimented with his 12-track declaration of victory. Among the soft tunes of “gloria” and “luther” and the sharp catchy critiques of the music industry, Lamar loudly declares himself as the savior of hip-hop, an independent figure whose sharp rhymes and criticism cut past the mess of the music industry. While this album doesn’t hold the same artistic vision or narrative as Lamar’s past work, it serves as a statement. A warning and a show of glory to close one of the biggest rap battles of the last few decades, “GNX” has earned a spot amongst Lamar’s best works. It’s a testament to his evolution as an artist and a sign of more to come.