By Max Luebbers ’16, Entertainment Editor
Anderson Paak’s sophomore record, Malibu, transcends the expectations of the hip-hop genre to stand with recent classics like Kendrick Lamar’s To Pimp a Butterfly, and J. Cole’s 2014 Forest Hills Drive. California native Paak has made a bit of a splash over the course of the last few years for his numerous appearances with the likes of schoolboy Q, The Game and Dr. Dre as a multi-instrumentalist and rapper.
Like To Pimp a Butterfly before it, Malibu uses its hip-hop influences as vehicle to a diverse medley of other genres, infusing influences of California jazz, 70’s funk, and soul to create a wholly unique experience. A strong rhythm section dominates the albums instrumentals with jazzy fills and some of the most driving and in-your-face bass lines of recent memory. Paak’s own vocals are often backed up by an excellent lead section as well, blending Funkadelic-style guitar work and classic Fender Rhodes keyboard tones. This creates a sonically complex work that’s simultaneously a complete album and a collection of compelling singles. Layers of instrumentation, sampling and soulful backing vocals help make Malibu consistently surprising and fresh for the entirety of its 61 minute run-time.
The comparisons to Lamar can’t be ignored. It’s clear Paak was inspired by K-Dot’s most recent work, but while they share similar rapping styles and an endearing croon reminiscent of old R&B and Motown, the subjects of their music are worlds apart. Paak’s flow and instrumentals are far more laid back than Lamar’s. Paak’s work reflects the lazy surfer-culture of its namesake beach rather than the hard streets of Lamar’s Compton. In this sense Malibu resembles The Weeknd’s Beauty Behind the Madness and J Cole’s 2014 Forest Hills Drive. Instead of focusing on crafting a comprehensive musical history fused with a heated social Commentary, Malibu is full of personal recounts of partying and revelry alongside a rich instrumental accompaniment that effectively add to the tonal layers that Paak has created over the course of album.
Overall Anderson Paak’s second studio release is a fantastic capstone on the opening years of his career, so expect Paak to make a bigger splash in the near future. There’s undeniably something special about Malibu. From its expansive musical literacy to its leisurely flow, the album is a complete release. Its mixture of dance beat, hip hop and soul leaves little to be desired, and each song fits well into the whole as well as standalone signals. Malibu may hold its influences on its sleeves but it effectively shapes them into Paak’s own vision.
Max’s Reccomendations:
To Pimp A Butterfly by Kendrick Lamar:
I think we’ve said enough about this instant classic from Kendrick Lamar but it shares so many similarities with Malibu that it can’t be ignored. A powerful revue of soul and funk with an even stronger social message make To Pimp a Butterfly one of the best releases of the decade, and I can’t help but think that Paak will be making a similar claim in the near future.
Things Fall Apart by The Roots:
The Roots have become known for their cohesive hip hop records, and their 1999 release, Things Fall Apart, is no different. Just over 70 minutes long, it’s an epic blend of laid-back jazz and old-school rap that focuses just as much on it sonic qualities and rhythms as it does its lyrical content.
Image Source: http://pitchfork.com/reviews/albums/21387-malibu/
