Dissect - S5E13 - LOVE. by Kendrick Lamar

Episode Date: December 17, 2019

Coming off the heels of LUST., LOVE. presents the flipside of the coin as Kung Fu Kenny explores the youthful, romantic love he felt as a teenager. As we’ll discover, this isn’t the first time Kendrick has explored the love/lust dichotomy in his music: it was actually the basis for his major label debut good kid, m.A.A.d. city. Say hi @dissectpodcast on Twitter and Instagram. Purchase Dissect merch at https://shop.dissectpodcast.com/. Listen to original Dissect themes on Spotify: https://spoti.fi/2k8BsZM. Learn more about your ad choices. Visit podcastchoices.com/adchoices

From Spotify Studios, this is Dissect, long-form musical analysis broken into short digestible episodes. I'm your host, Cole Kushna. Today we continue our serialized analysis of Damn by Kendrick Lamar. On our last episode, we dissected Lust, a song that found our protagonist Kung Fu Kenny under the demonic influence of lust. Through a mosaic of daily activities of men, women, himself, and all of us, Kenny forced us to question the influences guiding our daily routines, and how that habitual, perhaps untempered cycle might be prohibiting us from making the progress

we desire at a deeper level, both as an individual and a society. Near the end of the song, Kenny quotes James chapter 4, to announce that those who pledged their allegiance to lust become the enemy of the Lord, as God recognizes that the pursuit of lust ends in death and destruction. Kenny's recognition of this fact gave us reason to believe he may have taken an important step out of slavery to lust, and toward freedom through the subject of today's episode, Love. Love is produced by Soundwave Teddy Walton and Greg Kirsten, with guest vocals by Sakari. The majority of the beat was constructed by Teddy Walton, who begins with a simple two-cord or pagiated keyboard riff. These chords are layered into a collage

of original sounds Zachari and Teddy made into an eight-bar loop. This sample loop gets beefed up with an original drumbeat. And thus we have the basic musical foundation of the song Love. But before we we hear this beat, the song's introduction adds to a growing list of dichotomous choices. Kenny here, of course, says, damn, love or lust, damn, all of us. This is now the second direct reference we've heard to the title of the album, the first being in the song element. This time, the album title is punctuated between the dichotomous choice between love or lust, suggesting that the entire album can be boiled down to this choice, a choice that all of us make. At the same time,

It's important to recognize that this is the third song from Dam that begins with a dichotomous statement. The first instance was, of course, the wickedness or weakness dichotomy heard at the beginning of blood. Later we heard the love or pride dichotomy at the beginning of the song Pride. It's notable that the word love appears in two of these dichotomies, love or pride and also love or lust. This overlap supports our early interpretations that the various dichotomies we hear in Dam are not presenting different ideas. rather they're different expressions of the same fundamental idea, all stemming from the original wickedness-weakness dichotomy the album begins with. While love is the fundamental attribute of weakness, particularly love of one's enemies, both pride and lust fall under the umbrella of wickedness.

Both are presented as the antithesis of love, and in this way they're closely related, perhaps even inseparable. We actually discussed this intertwining of lust and pride at the end of our previous episode, specifically when we analyzed Kenny's citation of James Chapter 4. There we heard how lust turns into fear, which then justifies violent retaliation against one's enemies in the name of self-preservational pride. Finally, the last thing we should note about the love or lust dichotomy is that its inclusion here on love isn't the first time Kendrick has presented the idea in his music. It's also heard in Good Kid Mad City, and is actually the driving force behind the entire album's narrative. This is a

established on the very first verse of the very first song, Shireen, aka Master Splinter's Daughter. ...with these opening lines, it becomes immediately clear that Kendrick is focused on having sex with a girl named Shrain. He compares her body to that of a stripper and her butt to the hump of a camel. Shrain seems to be fully aware of Kenny's attraction and proceeds to further entice him. The interactions Kendrick and Shrain are having caused Kendrick to feel like it's just a matter of time before they have sex. He raps, Who could imagine? Maybe my actions will end up wife and her. Love or lust, regardless of, list will fuck, because that's the trifen us. Of course, it's here that we run into the love or less dichotomy. Within the context of Good Kid Mad City, this question asks which emotion will direct

Kendrick Lamar's actions towards Sharan and everything else in his world. He imagines that maybe their feelings for each other could lead to marriage. But then he questions whether those feelings are built on love, an emotion that drives a person to satisfy the other person, or lust, an emotion that drives a person to satisfy him or herself. In the end, Kendrick decides that the question is irrelevant because either way they're going to have sex. Kendrick's carefree focus on his own gratification throughout the song suggests that he's already chosen lust whether he realizes it or not. As the verse continues, Kendrick acknowledges Charan's family history of gang relations. This knowledge likely should have caused Kendrick to proceed with caution.

However, Kendrick's lust finds him throwing all caution to the wind. then make me skeptical but not enough to stop me from getting a nut i want to come over what's up that's what i told us soon as this episode i'm all right go off i'm trying to get off i was a heat like a cactus my cactus up being thirsty probably could hurt me but fucking i got some hard girl my mama keys hopped in the car then i old bar kendrick recognizes that his lust is causing him to act like an animal in heat and a thirsty cactus in the desert since the feelings between kendrick and Shireen have gotten way too hot to simmer down, Kendrick agrees to drive to her house to have sex. He borrows his mom's minivan and heads out. And this is where the narrative of Good Kid Mad City begins.

Over the course of the album, which takes place on a single day, Kendrick finds himself in various cars trying to make his way to Shrain's house in order to satisfy his lust. After a botched house robbery he partakes in with his friends, Kendrick drives to Shireen's house to have sex, only to get jumped by two gangbangers when he pulls up in front of her house. Kendrick and his friends decide to retaliate, which ultimately ends with Kendrick's friend getting shot and killed. Got the niggas. Care that you good?

Yeah, brother. I'm good. That's good. Say something. These bids that diggas kill my brothers. As we've discussed multiple times this season, this pivotal event leads to Kendrick and his friends deciding whether or not to retaliate and take revenge for their fallen homie. It's here that Kendrick realizes that he and his friend.

friends were dying of thirst. It's at this moment that we can look back on Good Kid Mad City and see that its narrative is essentially an illustration of how uncontrolled lust leads to death and destruction. Kendrick's lust for sex is what caused him to ignore the fact that Shrain can be dangerous for him. Kendrick's lust for money is what caused him to join his homies in a failed house robbery that nearly got them arrested. Finally, Kendrick and his homies lust for murder and vengeance is what caused them to retaliate, which ultimately led to the death of Kendrick's friend. In this way, we can see

how Good Kid Mad City illustrates how 17-year-old Kendrick's pursuit of a fleeting orgasm would cost his friend's life. Confronted by the dichotomy of love or lust, this younger version of Kendrick constantly chose lust. He then learned the hard way that choosing lust eventually leads to death and destruction. Meanwhile, here on Dam, Kenny's turn back to God at the end of the previous track, Lust, gives us reason to believe that Kenny might now be able to choose a different way of life. That is, he might now be ready to choose love. Love's Hook is sung by Zachari. actually first heard Zakari singing the hook before he wrote any of his lyrics.

Thus, both in real life and within the album narrative, Zakari seems to function as a romantic muse. In his interview with Zane Lowe, Kendrick talked about how hearing the beat took him back to the mental space he was in as a teenager. Yeah, yeah, yeah. Yeah, I heard the beat, and immediately, you know, I just go back to this space of, you know, being a teen and you just now figuring out what is the concept.

of actually further being attracted to a woman but actually loving someone, you know, and feeling that type of love and getting your heart broken, you know, going back to that space and the simple idea and the simple concept of love and that feeling amongst all the other madness around the album. I was going to ask you. According to the interview, the song is meant to be about the simple concept of love as understood by a teenager. This, of course, is the antithesis of Good Kid Mad City, which explored the complicated concept of lust, as understood or at least pursued by a teenage Kendrick. The hook of love begins, give me a run for my money. There's nobody, no one to outrun me.

Here Zikari uses the standard English idiom, give me a run for my money, a lighthearted way to encourage someone to provide a competitive challenge. This leads to the next line in which Zikari claims that no one can outrun him in a foot race. At this point, it's not clear to whom these words are addressed or what the significance of running is, but given the track's title, it's likely that running a race is a metaphor about love, that is, no one will love this person more than Zakari. After the first two lines of the hook, we hear a clip of Kid Capri saying Another World Premiere. While somewhat innocuous at first listen, we recall this same phrase was used in the song Mama from Tapipa Butterfly. After this interlude, Mama concludes with a rap section,

that contains some interesting parallels to our discussion of love. In this section, Kendrick wraps about spending his life looking for an indescribable feeling that he hoped to find with either a woman, with money, or with all of mankind. The background vocals then respond by repeatedly saying, let's talk about love, which makes it clear the thing Kendrick is searching for is love. We find another occurrence of this use of world premiere on the single version of the song I. And just like Mama, I finds Kendrick rapping about love. And so by including the world premiere ad libby at the beginning of the song Love,

Kendrick seems to be sly nodding to us careful observers of his discography, that this track is joining a group of his songs that focus on love. specifically the love of a woman who is going to give Kenny a run for his money. Zikari continues singing, sipping bubbly, feeling lovely, living lovely. This lighthearted language about sipping champagne and feeling good

adds to the loving environment the song is creating. But as we'll see in verse one, it's also setting up a metaphor about Kenny and his girl's relationship, feeling like a party or function. Sakari then repeatedly sings, Just love me, while Kenny interjects singing, I want to be with you.

This makes clear that Kenny is speaking to his girl, the first time he's done so since the first verse of Yaw. As we know, Kenny clearly let the hose get into his head thus far on dam. This was evident in his strings of one-night stands on tour described in the previous track, Lest. Having possibly transcended his lust at the end of that song, it would appear now that Kenney is going to attempt to be faithful to his girl here on love. The hook continues as Kenny asks,

if I didn't ride Blade on curb, would you still love me? Riding on Blade is slang for driving a car that's been customized with large rims and low-profile tires. Because the rims are so large, the tires can barely be seen, and the car looks like its wheels are made of blades. Such customizations are very popular in neighborhoods like Compton and tend to cost a lot of money. Thus, by asking his girl if she'll still love him if he doesn't ride blade on curb, Kenny is really asking whether she'll love him if he were no longer rich and famous. This underlying question comes to the surface during the next line.

If I minimize my net worth, would you still love me? The term net worth refers to the total value of all the assets that a person owns, including cash, real estate, jewelry, and other investments. Recall that during the second verse of Ya, Kenny mentioned that his cousin Carl Duckworth told him to know his worth. My cousin Carl Duckworth said, know my worth. And do the rhyme to me say that we all been cursing. I know he walks the earth, but it's money they get bitches to hit. These lyrics illustrated that Kenny's knowledge that God walks the earth is in direct conflict with his knowledge that there's money and sex to be had. Likewise, Carl's advice to know his worth

seems to express that a person's worth comes from having God rather than money. Here in love, it seems that Kenny is finally considering this advice. Thus, along with turning away from other women, Kenny is now willing to turn away from money and materialism, i.e. minimize his net worth. glance, it might sound extreme to not just reduce his obsession with money, but also take steps to actively reduce his wealth. However, this inclination to give his money away is likely inspired from a biblical account about a certain ruler who came to Jesus and asked what he must do to inherit eternal life. Jesus replied, quote, if you wish to enter into life, keep the commandments. The ruler claimed that he had followed God's commandments since his youth, which led to

the following exchange. Quote, Jesus said, there is still one thing you lack, sell all that you own, and give the money to the poor, and you will have treasure in heaven, then come follow me. But when he heard this, he became sad, for he was very rich. Jesus looked at him and said, how hard it is for those who have wealth to enter the kingdom of God, unquote. In this exchange, Jesus claimed that people who aim to follow the commandments perfectly must love other humans enough to sacrifice their own gratification and economic security. Such self-sacrifice is the only way one becomes less likely to commit adultery, murder, theft, and slander. The evil is prohibited by the commandments. After all,

these evil actions are simply manifestations of pursuing one's own gratification and economic security at the expense of others. Just like the rich young ruler, Kung Fu Kenney seems to be considering the idea that if he remains unwilling to minimize his net worth, he will remain outside the kingdom of God. At the same time, Kenny questions whether his girl is willing to live in such humble circumstances, leading him to say, keep it a hundred, I'd rather you trust me than to love me. Keep it a whole one hun. Don't got you, I got nothing. Keep it 100 is an alternative way to say keep it real. Both phrases are used to describe someone who remains authentic and tells the truth. As we've seen throughout Dam, Kenny has frequently made it a point to assert that he's real.

Up until this point, Kenny is associated being real with pursuing sex, money, and murder. However, it appears now that Kenny associates authenticity with relational loyalty and trust. Kenny goes as far as to say that maintaining trust between him and his girl is more important to him than the simple feelings of love. This preeminent value Kenny ascribes to trust connects back to the intro of loyalty. Here, Kenny is a secret to size. Imriana said, all we ask is trust, all we got is us, which seems to be a direct parallel of the lines, I'd rather you trust me than to love me, and don't got you, I got nothing. It seems clear that for Kenny, trust is the foundation upon which love is established and made meaningful.

Having established the song's central subject, love continues with verse one. A verse will dissect right after the break. Welcome back to dissect. Before the break, we dissected the introduction and hook of love. With the song's first verse, Kenny plays off the champagne bubbly line of the hook and creates an extended metaphor about he and his girl's relationship being a party for two. Kenny begins. I know what you need. Already on 10, all money come in. All feeling go out, this feeling don't drought, this party won't in.

Kenny begins verse 1 singing, We go in function, no assumptions. The meaning of function is to operate properly, and Kenny seems to be using the word to refer to the relationship. We also recognize that function is slang for party, and given that the remainder of the verse will refer to making love, dancing and using the phrase this party won't end. This early line we go on function seems to frame their relationship as a party for two, the only party they need. Next, Kenny says,

feeling like Tyson with it, knock it out twice, I'm with it. Here Kenny compares himself to boxer Mike Tyson. Like a boxer, Kenny claims to knock his girl out twice in one night, meaning she reached orgasm twice after multiple rounds of sex. Kenny continues, only for the night, I'm kidding, only for life, let's get it. Here Kenny playfully acknowledges his old pattern of one-night stands and contrasts it with his renewed commitment to love his girl for the rest of his life. Kenny then sings, hit that shoulder lean. The shoulder lean is a dance move that involves moving one's feet in a two-step pattern, followed by leaning each shoulder forward twice. The shoulder lean was created by a rapper named Young Droh to promote his 2006 single of the same

name. The shoulder lean became a staple of hip-hop dance parties in 2006 when Kendrick was 19 years old. Thus, by referencing the shoulder lean, Kenny is again taking us back to the simplicity of love as a teenager. Next, Kenny says, I know what coming over me. As we'll see, this is the first of several deliberate contrasting statements when compared to the previous track Lust. There we heard Kenny repeatedly saying, something came over me.

In the context of lust, we interpreted the something to be the feelings of lust that overcame Kenny before he realized what had happened. Without the knowledge that he'd been overcome, Kenny mindlessly sought out his own gratification. In contrast, Kenny deliberately points out that he knows what he's experiencing now is love. While lust caused Kenny to be ignorant of his own motivations, love brings knowledge of himself and others. Kenny further highlights his increased knowledge as he says, backstroke overseas. I know what you need. Backstroke overseas has a few possible meanings. It could be an allusion to either a back rub on vacation or swimming in waters overseas.

Given the multiple metaphors about the relationship being a party and the reference to champagne in the hook, we could also consider the use of backstroke overseas as a reference to drinking alcohol, similar to Kendrick's lyrics from swimming pools, quote, Grandaddy had the golden flask backstroke every day in Chicago. Here in the song Love, it would appear the drinking metaphor is that when they're together, they feel intoxicated with love. Saying, I know what you need, is another contrast with the song Lust, where Kenny repeatedly said, I just need for you to want me. This contrast illustrates the central difference between

love and lust. Someone who lusts focuses on his own needs, and someone who loves focuses on the needs of the beloved. Kenny makes his way to the conclusion of verse 1, saying, already on 10, all money come in, all feeling go out. The phrase on 10 is slang for 10 out of 10, meaning the best of the best, and is commonly used to refer to a good party. This of course falls in line with the party metaphor being used throughout this verse. Describing money coming in and feelings going out adds to the hooks lines about the negative effects of money. The lines here imply that the more wealth one amasses, the less that they feel emotionally, making it hard for them to empathize or connect with other humans. We've seen this idea on display as Kenny throughout

the album has selfishly pursued sex, money, and murder, which has caused him to be desensitized to the feelings of others, particularly on the tracks element, feel, pride, humble, and of course, lust. This idea about money, desensitizing feeling, is then contrasted with the line, this feeling don't drought, this party won't end. Here, Kenny asserts that the feeling of love between him and his girl will not dry up in an emotional drought. Again we hear another contrast with lust, where Kenny repeatedly expressed his thirst with the phrase, I need some water. We discussed how this line was an allusion to the biblical idea that those who act wickedly would experience a drought of hearing the word of God and as a result would faint for thirst. Here in love, Kenny now realizes

that if he chooses love rather than lust, he'll not experience such a drought, and thus will be able to receive the living water of God's spirit. And if he had access to this kind of water, he would be able to maintain his feelings of love and loyalty to his girl. This relational fidelity is in contrast with the one-night stands and games of just the tip described in lust. We see this clearly expressed when we compare the line, this feeling won't drought from love, with the line, feelings are dead, what a fast life, from lust. This contrast between dead feelings and feelings that are sustained by living water, further highlights the idea that lust will lead to death and love will lead to eternal life. This eternity is defined by the verse's final line. This party won't end.

Taken literally, this statement implies that the two of them will enjoy each other's company forever. This final line about partying also brings the verse full circle, back to its first line, we go and function. After a repetition of the song's hook, verse two begins. Kenny begins I'm on the way. Kenny begins first two saying, I'm on the way. I don't want pressure you none. I want your blessing the day.

Oh by the way. Open the door by the way. Tell you that I'm on the way. I'm on the way. I know connection is vague. Kenny begins verse two saying, I'm on the way. Introducing the way as a motif

that will be repeated throughout this second verse. It appears that Kenny is now in the way to meet up with this girl. And that time is of the essence, suggested by the next line, we ain't got no time to waste. Kenny's girl seems to be separately driving to this destination, as the next line is,

popping your gum on the way. This depiction of his girl popping her bubble gum helps to convey the lightheartedness of young love. Next, Kenny says, am I in the way? Kenny here takes a moment for self-reflection and questions his own actions and motives. He wonders whether he's in his girl's way and blocking her from getting to her destination. This awareness of how his actions could affect his girl leads him to say, I don't want to pressure you none, I want your blessing today. These lines convey that Kenny is trying to be sensitive

to his girl's feelings and doesn't want to pressure her into having sex. This sensitivity for his partner's engagement contrasts with lust, where we heard Kenny using the game just the tip to manipulate the woman into having sex. Kenny's realization of how much he loves his girl finds him confessing that he doesn't just want her consent,

he wants her blessing. Admittedly, hearing the word blessing on the album for the first time does peak our interest. That's because blessings are the opposite of curses, and as you recall, the album titled Damn itself refers to the biblical idea of curses. Up until this point in the album, we've only heard about curses. Hearing about blessings for the first time on a song about love and the transcendence of lust is certainly fitting. It might also allude to the biblical idea we've discussed at length, which suggests

humanity will receive blessings only when we learn to overcome our self-serving lusts while growing in love and loyalty to God and others. As love continues, the micro-narrative of Kenny and his girl driving to see one another reaches its climax. I'm on the way. I'm on away. I know connection is vague. Pick up the phone for me, babe. Demand we jamming. That had a two for your nanny. Curving your hip from your mammy. Remember Gardina. I took the studio camera. I know Tapo be mad at me. I had to do it. I want your Kenny continues the verse reiterating is vague, pick up the phone for me, babe. Kenny continues the verse reiterating that he's on the way,

adding, I know connection is vague, pick up the phone for me, babe. The latter line is likely an allusion to Travis Scott's 2016 single Pick Up the Phone. It's likely Kenny chose to allude to Scott's Pick Up the Phone, as it's primarily a song about commitment, containing such lines as Never will I cheat on you, never will I commit treason. Interestingly, Travis Scott makes a cameo in the music video for love and appears on screen when Kenny says, Pick up the phone for me, babe.

Kenny continues love saying, Damn it, we jammin. With the phrase, damn it, Kenny makes another reference to the album's title. Fittingly, it's the most playful usage of the word damn we'll find on the album. Meanwhile, the phrase, we jammin, seems to reference the bottom. Marley song, Jamming.

In Jamaican patois, jamming refers to dancing and having a good time. And so saying, We Jammin falls in line with Kenny's assertion that we gone function, his claim that this party won't end, and his plans to hit that shoulder lean. The thought of dancing with his girl inspires Kenny to be further attracted to his girl's mental and physical qualities. He sings, bad attitude from your nanny, curves and your hips from your mammy. This train of thought about his attraction to his girl continues as Kenny goes on to recount an old story from the younger days of their relationship. He says,

Remember Gardina, I took the studio camera, I know Top will be mad at me, I had to do it, I want your body, your music. Gardena is a city west of Compton in south central L.A. Meanwhile, Topp refers to Anthony Top Dog Tiffith, the founder and CEO of Kendrick's record label, Top Dog Entertainment. Apparently, at some point after being signed to the record label, Kenny secretly took the label's studio camera without telling Top Dog. The lyrics seemed to indicate that Kenny then drove to Gardina to meet up with his girl and record a video of her body and music, aka a sex tape. The verse continues, I bought the big one to prove it. It's here that we get the only line in the song that might directly allude to Kendrick's real-life girl Whitney Alford.

The two have been together since their time at Centennial High School in Compton. which might explain why Kendrick was inspired to write this song about his teenage feelings of love. In 2015, Kendrick and Whitney became engaged. This engagement seems to be what Kenny is referring to with the line, I bought the big one to prove it, with the big one referring to the big engagement ring he bought her. The second verse reaches its conclusion with the final lines, told you that I'm on the way, I'm like an exit away. In this closing line, Kenny reminds his girl one last time that he's on the way.

It's interesting to note that within the song Love, he never reaches the destination mentioned throughout the second verse. He's an exit away. That is, he's close, but not quite there. Given the context of the album thus far, and Kenny struggles to transcend his intuition to pursue sex, money, and murder, we might consider these closing lines a calculated ending to the warmest, most optimistic track on Dam. On the surface, I'm on the way is, of course, talking about being on the way to meet his girl. However, on a deeper level, Kenny seems to be confessing that while he's still struggling to fully transcend his lust and become the person God wants him to be, he's on the way. Also, given the overwhelming amount of biblical references throughout Dam, we can't help but consider

the repetition of the phrase the way, as alluding to the biblical idea of the way, as in the way of Jesus. Before the followers of Jesus were referred to as Christians, they were actually referred to as the followers of the way. This description was taken from the famous Jesus quote, I am the way, the truth, and the life. In other words, Jesus claimed that he's the embodiment of the way that humans are meant to live, the way of love, the way of weakness, the way that leads to eternal life. While we can't know for sure if this repetition of the way throughout the verse is alluding to the way that Jesus represented, what is clear is that Kenny appears to be one step closer to the way of weakness now that he's recommitted himself to loving his girl.

Conclusions. Love is clearly the warmest song on damn and directly contrast with the album's previous song Lust. The disparity between these two songs and their placement next to each other is like the previous set of tracks Pride and Humble, a calculated decision, adding to the the growing list of dichotomous choices Kendrick is presenting throughout the record. Lust found Kenny hypnotically pursuing the earthly physical pleasures of sex and money, and even noted how lust turns into fear, which then encourages violence against any perceived threat in the name of self-preservational pride. We saw something similar play out in the narrative of Good Kid Mad City, where Kendrick's lust for sex with Charain, ultimately leads

to the death of his close friend. Each of these, both the song Lust and the narrative, of good kid, express death and destruction as the final destination of lust if pursued to its natural end without intervention. Meanwhile, love finds Kenny expressing a kind of juvenile, pure, emotion-centered version of love, but also implies that Kenny may be on the way to a love that is mature and rooted in a lifelong commitment to other human beings. Indeed, in stark contrast with everything we've heard thus far on down, love has Kenny questioning his lust for money and sex, understand, standing that his own worth is more than money, and the worth of a woman is more than sex. Sex and money comprise two of the three components of the unholy trinity of real N-word conditions

Kenny was diagnosed with back on the song Yaw. Though Kenny's youthful, romantic love here on the current track is inspiring, it remains to be seen if his idea of love is developed enough to extend to his enemies. If he were to do so, Kenny would also overcome his lust for violence we've heard throughout the album, specifically on the song's song. element and humble. This would complete his transcendence over the unholy trinity of sex, money, and murder, and would represent his transition from wickedness to weakness, from death to life, from vengeance to forgiveness, from lust to love. But by the sounds of the album's next track,

it would appear Kenny has some work to do before he can purge his heart of the violent revenge he seeks against his enemies. me what you do for love, loyalty and passion of, all the memories collected, moments you can never touch. This rage fuel chaos is XXX, a song will dissect note by note, line by line, next time on Dissect. Dysect is produced by me for Spotify Studios. Today's episode was written by Femi Olutade and me, song recreations by Andrew Atwood, audio editing by Eric Bass and me, original theme music by Birocratic.

can now stream all the original dissect themes composed by Birocratic on Spotify. Just click the link in the show notes. If you enjoy Dysect, please tell a friend about the show, and be sure to say hi on Twitter and Instagram at Dysect Podcast. You can also purchase Dysc merchandise at Dysectpodcast.com. Okay, thanks for listening, everyone. I'll talk to you next episode.