Hyperallergic sits down with artists who have produced video work for Kendrick Lamar, MGMT, Childish Gambino, and more.
For now, all that artist Lina Iris Viktor wants is an official apology.
Tonally, Damn is Lamar’s definitive album, refining his craft down to its quintessence.
The big question in hip-hop this season: which megaartiste made the superior album, Kanye West or Kendrick Lamar?
Kendrick Lamar may not be the Best Rapper Alive, but except for a few thesaurus users from the hip-hop underground he may very well be the most intellectual.
Every year, the Village Voice holds an annual poll, inviting nearly every critic in the biz to vote on the best albums and singles of the given year. Because of its size, it’s generally the best way to measure yearly progress in pop music: the numbers actually mean something. The thing is huge; 493 critics voted in 2012. Although there’s less change than I would have liked, there’s been definite progress since last year. The 2011 Pazz & Jop albums chart contained only one major album, a collaboration between two artists who have both done better work elsewhere. The singles chart alternated between arty album tracks and crass pop-rap rampages beloved by opportunists always on the lookout for new ways to one-up their colleagues. What made it onto Pazz & Jop last year was not what people really loved, but what they didn’t hate, the result of a standoff between the ideologically opposed magazines Rolling Stone and Pitchfork – the winners were the albums mediocre enough to survive. Rather than a consensus, I thought, we had a lack of consensus.
This month, reviews of Kendrick Lamar, a collection of international dance music, Miss Pooja, Bat For Lashes, the Funkees, Elle Varner, Pitbull, and Gudda Gudda.