The Weekly Coos

Anderson Paak began to wobble with Oxnard and Ventura as he continued to opt for focused sounds within a conceptual sound than showcasing his wings like with his colorful first two albums, specifically Malibu. Though the latter solo projects have gone on to be modestly forgetful, it doesn’t take away from the meaningful hustle Paak puts into his work that one can’t help but be someone perked up when a new project comes; fortunately, for fans, he returns with Knxwledge for their second link up, Why Lawd?, eight years to their debut collaboration Yes Lawd!. Unfortunately, that doesn’t mean the album gets around squeaky clean as some refreshing piece of perfection; instead, it sounds more of the same with consistency and tonal shifts that give us something profound emotionally. Though it’s good to play somewhat safe for the sake of comfort, it can play a positive as you may not want artists to overcomplicate themselves for the sake of, and as the two go for more of that soulful remedy to the production, we get Paak finding himself alone and looking to find new avenues to relent and lay his emotions on the floor for us to feel.

Why Lawd? pursues a tandem akin to their last album, where the music has this emotional essence, and the bars get delivered with a finger-snapping flow as if they were performing open mic night at an underground cafe. That’s where it can play to safe music levels as they feel like there isn’t this need to make the sounds alluring via colorful bombast, instead flowing in a tempo that keeps the lyrics grounded to the thematic associations the lyrics hold, which is heartbreak, amongst others. That potency gets matched by the album’s featured artists, one of which is unconventional but grand. That feature is from Earl Sweatshirt, who comes on the penultimate track to deliver an impactful and memorable verse that keeps in touch with the theme, the same with H.E.R., who beautifully complements Paaks vocals. Unfortunately, consistency can keep its pacing and tracking a slightly washed feeling with how it maneuvers through these different sonic conjectures, particularly that of soul/funk. It’s tonally the opposite of their debut, as that album had a more livelier presence. However, like it, it starts on an exceptional note, immediately reeling you in; as it continues, it can taper and waver, as sounds can feel too composite and complacent for the tone.

As Why Lawd? continues to tread familiarity, it can lose you, but for some, it can keep you engaged, especially with the transitions; it’s great to hear Paak do similarly with the vocals, wherein one track he may sing more than not, but it hits stalemates, where tracks don’t have the complete package. Though it isn’t uncommon for these albums to have sensible transition points that are instrumentals or shortened interludes that play to the thematic poignancy of the album, which for much of it laments heartbreak and longing for the connection once had, it isn’t as impactful with this album. “Lookin’” is forgetful, and “DistantSpace” flows by quickly, like the Charlie Wilson feature on “NVR.RMX” or “HereIAm,” making what could have been a fantastic highlight for The Last Artful, Dodgr, becomes another misnomer amongst some quality tracks, specifically those that come in the middle. Much of the reason for each track’s potency is that it feels more fleshed out without this feeling of longing like “86Sentra,” which I could have listened to more from, same with “MoreOfIt,” but as much as I can harp on it for this, these are intended choices; it’s unfortunate some don’t work.

Within the middle of the album, you get much of the greatness we’ve missed from the duo; with many of these fully fleshed-out tracks sitting there, it’s where you see that greatness in a contrasting way, like that of its tone where it’s more bleak and depressing, despite some slight flips in the lyrics that have more of an impactful worldview for the themes they relay. Whether Paak is singing it or rapping, he doesn’t leave what he wants to say missing within the crevices; there is a directness to it that breaks down Paak’s barriers and offers up something more nuanced than the sexual fortitude of his last project, the collaboration with Bruno Mars. For many, it’s a significant shift that makes it worth the listen, especially with dynamic pieces like “Daydreaming,” “Battlefield,” and “OnTheWay,” which beautifully exemplifies the soulful triumph from Paaks voice, giving you something great to replay. 

The replay value is what makes Why Lawd? something that has its footing within the musical worldview, but I’d be remiss if it didn’t stumble at maintaining relevancy amongst a slightly tepid month with more big releases than smaller ones. It is not much of a detriment, but it comes and goes quietly, and those who have been eager will leave with something to remember and play over, and over again. I’m one of those fans eager for it, and I can say I was left satisfied and ready to keep it on rotation on those gloomy rainy days of the summer.