Still, the result was an album that leaned heavily on its star-power features and producers, and in the middle, a blank canvas of a main attraction. What results is Mac Miller’s best album, though it’s not his best album simply because of its ambitions - after all, Watching Movies With the Sound Off was ambitious for how Miller tapped into multiple regional scenes to cater (or pander) to different audiences, like Odd Future’s West Coast or Flying Lotus’ Los Angeles. ![]() This one expands the jazz rap touches of GO:OD AM, nabs Bilal for opener “Congratulations” (whose 2013 release A Love Surreal general sound predated To Pimp a Butterfly), grabs Robert Glasper for closer “God Is Fair, Sexy Nasty” (whose resume has mostly been about crossing over from jazz into the mainstream) and even featuring Lamar himself on the same song (which was produced by Tae Beast, a TDE in-house producer), albeit for hook duty. In other words, the influence isn’t to do with lyrics, but rather the sonics. In fact, the latter seems to be the main inspiration for Mac Miller’s newest LP, The Divine Feminine, though, to be blunt, he seems to care more about pussy than he does the political scene happening around him. It’s interesting to watch influence in real-time: you could see the hip-hop and R&B artists attempt darker, fuller, more ambitious projects in the wake of Kanye West’s My Beautiful Dark Twisted Fantasy likewise, you can see hip-hop and R&B artists becoming more socially conscious in the wake of Kendrick Lamar’s To Pimp a Butterfly.
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