A recap of the top a hundred songs & prime 50 artists of the Pop Songs airplay chart’s first 25 years. It’s on “Concern,” near the top of the album, that Kendrick Lamar finally states his thesis of RATTLING.: “Within 14 tracks, carried out over wax / Wonderin’ if I’m livin’ through concern or livin’ via rap.” The observe is sort of eight minutes long, but it surely doesn’t feel that method, given the tune’s many actions—a voicemail sermon from his cousin Carl Duckworth, a section of looped vocals that sound like Lamar is speaking in tongues, an inventory of all of the ways a younger black man could die, a refrain about rising above all of it.
(He pulls the SUV door shut together with his left hand as a result of his right arm is bandaged in a sling.) Within the second half of the clip, he raps about resilience while enjoying along with his son, carrying matching Gucci. Within the music world that is an eon—particularly for a younger band with as a lot ahead momentum and buzz as Fleet Foxes had in 2011. Featured in The Hunting Ground, a 2015 documentary about rape on faculty campuses, it’s a large energy ballad whose final message is that solely those that’ve survived sexual violence can perceive it. Tragically, the past few days have indicated that almost all girls are in that place; songs like this one resonate all too extensively.
And by some means in that point the band has neither abandoned its sound for something more modern or felt like it’s living prior to now. The Barbadian queen of worldwide pop has usually alluded to sexualized violence in her songs, partly because of her personal historical past, which includes surviving domestic assault by her then-boyfriend, the singer Chris Brown.
On this gently redemptive music about recovery from Large Thief — a response to Huge Thief’s “Watering,” which details an assault, possibly of the identical lady — the band’s singer-guitarist and foremost songwriter Adrianne Lenker becomes that nurturing companion, serving to a survivor perceive that both her inside and outer world have ceaselessly changed with what she’s endured, but that she will be able to still see light.
Downie mentioned he wrote the track Inevitability of Demise as a result of he thought it’d be funny to listen to a radio deejay say it out loud. This tune takes on rape immediately, and will be heard as a revenge fantasy aimed on the fiercely patriarchal culture of the Caribbean dancehall music it mines. It’s a efficiency that is by no means eclipsed by the pristine sound manufacturing on the remainder of the band.