On April 14th, Kendrick Lamar (who won best rap album at the Grammys) released “DAMN.” It’s filled with contradictions, seesawing between supreme needs and animal wants, heroism and self-loathing, loose thrills and the possibility of eternal damnation. The songs are at odds with one another: “love.” is an ode to trust and commitment, backed by majestic, gliding synths; “lust.” is rash and hellish, as Lamar, over a drum loop played backward, raps about seeking the quick affirmation that comes from being desired. “element.” is Lamar at his most effortless and cocky, peering down from on high; it’s followed by “feel.,” which finds him nursing a chip on his shoulder, mind racing toward the conclusion that his insecurities may never fade. He begins recognizing his own sense of megalomaniacal paranoia: “I feel like this gotta be the feelin’ what Pac was / The feelin’ of an apocalypse happenin’.”