section_path: Artistry/Musical style
section_name: Musical style
paragraph_text: Musical style
  
  The nature of Lamar's musical style has been described as "anti-flamboyant, interior and complex." He is rooted in West Coast hip hop, and has continually reinvented his sound by branching out into other genres. Due to his contributions to its audience growth, through his appeal to mainstream listeners, music critics generally categorize Lamar as a progressive rap artist. He suggests that his music is genreless, explaining in a 2012 interview, "You really can't categorize my music, it's human music." PopDust opined that during the 2010s, a decade that was arguably defined by hip hop, Lamar constantly pushed the boundaries of what the genre could be.
  
  Lamar did not care for music production during the beginning of his career. However, as he placed an emphasis on songwriting and "making material that's universal", he grew more exacting and adventurous with his compositions. He is heavily involved with every aspect of his production process, including the mixing and mastering stages, and is known for working long hours in the recording studio. "You gotta be hands on and know the different sounds and frequencies," Lamar explained to Variety. "What makes people move, what melodies stick with you, taking the higher octaves and the lower octaves and learning how to intertwine that in a certain frequency, how to manipulate sound to your advantage." Lamar chooses to work with a close-knit team of musicians, rather than constantly seek high-profile talent. He has been working with his longtime producer, Sounwave, since his 2009 self-titled EP.
  
  Kendrick Lamar marked a pivotal change in Lamar's artistry. Unlike his earlier mixtapes, which consisted of freestyles over CHR and urban radio singles, the EP incorporated melancholic and "doleful" original production that emphasized his lyrics. Austere jazz production was blended with alternative rap styles on Section.80, with instrumentals drawing from R&B, boom bap, psychedelia, and downtempo. Good Kid, M.A.A.D City abandoned the tastes of contemporary hip hop by exploring a subtle, atmospheric side of West Coast hip hop and gangsta rap. To Pimp a Butterfly is an amalgamation of genres synonymous with African-American music, most prominently jazz, funk, and soul. It redefined jazz rap by highlighting improvisation and soloing rather than primarily using sampling. Minimalist arrangements are incorporated in Damn and Mr. Morale & the Big Steppers. Damn appealed to mainstream listeners through its pop and R&B-influenced production, while the scattered and distorted instrumentals of Mr. Morale & the Big Steppers was designed to make listeners feel anxious and uncomfortable. GNX was an homage to the West Coast, with g-funk synths, West Coast-inspired beats and flows, and features from various underground Los Angeles rappers such as Hitta J3, YoungThreat, Peysoh, Lefty Gunplay, Wallie the Sensei, and Siete7x.
  
  The nature of Lamar's musical style has been described as "anti-flamboyant, interior and complex." He is rooted in West Coast hip hop, and has continually reinvented his sound by branching out into other genres. Due to his contributions to its audience growth, through his appeal to mainstream listeners, music critics generally categorize Lamar as a progressive rap artist. He suggests that his music is genreless, explaining in a 2012 interview, "You really can't categorize my music, it's human music." PopDust opined that during the 2010s, a decade that was arguably defined by hip hop, Lamar constantly pushed the boundaries of what the genre could be.
  
  Lamar did not care for music production during the beginning of his career. However, as he placed an emphasis on songwriting and "making material that's universal", he grew more exacting and adventurous with his compositions. He is heavily involved with every aspect of his production process, including the mixing and mastering stages, and is known for working long hours in the recording studio. "You gotta be hands on and know the different sounds and frequencies," Lamar explained to Variety. "What makes people move, what melodies stick with you, taking the higher octaves and the lower octaves and learning how to intertwine that in a certain frequency, how to manipulate sound to your advantage." Lamar chooses to work with a close-knit team of musicians, rather than constantly seek high-profile talent. He has been working with his longtime producer, Sounwave, since his 2009 self-titled EP.
  
  Kendrick Lamar marked a pivotal change in Lamar's artistry. Unlike his earlier mixtapes, which consisted of freestyles over CHR and urban radio singles, the EP incorporated melancholic and "doleful" original production that emphasized his lyrics. Austere jazz production was blended with alternative rap styles on Section.80, with instrumentals drawing from R&B, boom bap, psychedelia, and downtempo. Good Kid, M.A.A.D City abandoned the tastes of contemporary hip hop by exploring a subtle, atmospheric side of West Coast hip hop and gangsta rap. To Pimp a Butterfly is an amalgamation of genres synonymous with African-American music, most prominently jazz, funk, and soul. It redefined jazz rap by highlighting improvisation and soloing rather than primarily using sampling. Minimalist arrangements are incorporated in Damn and Mr. Morale & the Big Steppers. Damn appealed to mainstream listeners through its pop and R&B-influenced production, while the scattered and distorted instrumentals of Mr. Morale & the Big Steppers was designed to make listeners feel anxious and uncomfortable. GNX was an homage to the West Coast, with g-funk synths, West Coast-inspired beats and flows, and features from various underground Los Angeles rappers such as Hitta J3, YoungThreat, Peysoh, Lefty Gunplay, Wallie the Sensei, and Siete7x.