In the process, it allows Lamar to do what so many of his peers have seemed unable to do - make an album that not only delivers on but exceeds hype.
Section.80, aside from random Lamarisms, fully avoids this issue. Not just his voice, but the way he decided to explain ideas often felt like a guy who’s mind was racing so furiously that he was incapable of tying big ideas to understandable verbalizations. Kendrick Lamar always felt promising, but he also felt weird. In the former’s, one wonders why the artist ever bothered trying to stop making tapes in the first place if his music was going to suffer as a result. In the latter’s case, it becomes hard to understand what separates one effort from another, and thus plenty of artists can shift from vessels of potential to mere flavors of the month/year. The best mixtape artists can put out a bevy of tapes with hot lines and cool beats, but very few of them can figure out how to focus that energy into cohesive, sound-expanding albums without losing what made them unique in the first place or, more commonly, simply making more of the same and coming off repetitive. Surely some of that stems from their use of the same producers and the lack of DJ involvement that makes their free projects feel like albums anyway, but a lot of it is rooted in their inability to expand. While plenty of artists have set their sights on finally charging for their work in 2011, including west coast contemporaries like Lil’ B and Dom Kennedy, many of them seem unable to make their album work feel much different from their mixtapes. Section.80 is a triumph for the internet-centric youth rap movement.
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