In the modern film industry, marketing has benefited thematically, and financially, from the original music made for a motion picture. However, all of these original song compilations, from The Great Gatsby to Suicide Squad, Black Panther has reached new levels of anticipation. Hip hop is the musical zeitgeist at this point, and at the top of this lies the Top Dawg Entertainment camp, a West Coast label featuring the talents of SZA, ScHoolBoy Q, Isaiah Rashad and Kendrick Lamar. This mammoth label curates the Black Panther album, and features some of the most talented artists in music today.

1. Kendrick Lamar — “Black Panther”

The album begins with a warm but unsettling piano loop, as well as an exceptional few verses from the ringmaster of the project, Kendrick Lamar. The piano gets twisted, and mixed with tribal drums, the track gains an undeniable fear factor.

2. Kendrick Lamar & SZA — “All The Stars”

The lead single is rather pop-centric, with an excellent, climactic chorus from SZA. Kendrick, on the other hand, does sound a tad too phoned-in for him to give something to the track other than a longer run-time and a pre-chorus section with a helping of dire, modulated vocals. The beat is minimal and unremarkable, but does create the tense mood that the track warrants.

3. ScHoolboy Q, 2 Chainz & Saudi — “X”

One of the several crew cuts on the album, “X” is backed by hard-hitting yet melodic production that impeccably accentuates Schoolboy Q’s intoxicating rap style. 2 Chainz offers a silky contribution, and one of the wildest moments comes from an inventive beat inversion that gives the same chorus a new attitude.

4. Khalid & Swae Lee — “The Ways”

After a number of tense opening tracks, “The Ways” is a vibrant, jovial R&B track, with a charismatic and intoxicating performance from Khalid, and Swae Lee also brings a smooth vocal offering. Kendrick’s small appearances also add to the fun of the track, as does the rattling hi-hats and feathery string plucks.

5. Vince Staples & Yugen Blakrok — “Opps”

“Opps” is the most hostile track on the project, which is nothing surprising considering it is headlined by Vince Staples. Featuring the grimy, abrasive production seen on Big Fish Theory, Vince effortlessly slaughters the beat, as does the young female MC Yugen Blakrok. However, the chorus is overbearing thanks to the often-repeated refrain.

6. Jorja Smith — “I Am”

“I Am” is dark slow jam with a smattering of Jack White-esque blues-rock guitar. Jorja compliments the track with a sultry performance, although, it struggles to provide memorability to progress it past being just an interlude.

7. SOB x RBE — “Paramedic!”

Contrasting from the amazing, uplifting intro from Zacari & Kendrick, the track is one of the most lively on the album. Backed by a fiery, ringing beat that showcases the best of TDE’s West Coast sound, the rap group oozes vigour and character, solidifying their bold introduction into the wider hip hop landscape.

8. Ab-Soul, Anderson .Paak & James Blake — “Bloody Waters”

“Bloody Waters” is the least notable track here, which is predominately down to the production. It’s minimal to a fault, and the two-note guitar line does get grading. Ab-Soul’s contribution is commendable, but without the pressure of addressing a big concept, which is what can be seen on his solo work, he is more focused on flow and entertaining bars, and makes for a more enjoyable listen. Anderson .Paak gives his trademark spiritual performance on the chorus, and James Blake blesses the track with a soulful, jazzy outro.

9. Jay Rock, Kendrick Lamar, Future & James Blake — “King’s Dead”

“King’s Dead” is the standout moment on the entire project, presenting bassy, raucous production, though Jay Rock gives a disappointingly momentary appearance. His flow is buoyant and sharp, but the vapid lyrical contributions does read to be a phoned-in affair. Elsewhere, Future gives an gratuitously disgusting vocal performance, although the otherworldly moment is a personal highlight. Kendrick Lamar, however, provides an album standout; while the first verse is typically first-class, the apocalyptic beat switch allows Kendrick to give a performance to rival “For Free?” or “DNA.” in terms of unrestrained kinetic energy.

10. Zacari — “Redemption Interlude”

On this track, Zacari provides a much-needed soft spot on the project. His profound vocals on this interlude are glossed over a soft piano, and perfectly transitions into the main track.

11. Zacari & Babes Wodumo — “Redemption”

“Redemption” is a bubbly dancehall song support with bouncy drums and jazzy piano chords, even if Zacari’s falcetto in the chorus is reminiscent of an amateurish Weeknd. Despite this, several moments are, remarkably, in foreign languages, from Latin and African areas highlighting the strong multicultural influences peppered throughout the album, which is both commendable in its own right and in the context of the Africa-based film its soundtracking.

12. Mozzy, Sjava & Reason — “Seasons”

The oddball track “Seasons” begins with dreary piano that escalates into a slow but passionate soul song, presenting a beautiful convergence of African and American styles of soul and rap. With a scintillating verse from Mozzy, and an even greater verse from Reason, moments such as these indicate that this album brings something truly unique to mainstream music.

13. Kendrick Lamar & Travis Scott — “Big Shots”

Travis Scott teams up with Kendrick for a flute-led banger featuring two decent verses from the two. Nonetheless, the track suffers from a lack of ideas, and an obnoxious chorus from Kendrick.

14. The Weeknd & Kendrick Lamar — “Pray For Me”

The finishing phenomenon has a driving beat, engulfing warbling synthesizers, as well as an invigorating, climactic hook from The Weeknd. In spite of Kendrick dishing out a lackluster performance, this single serves an immaculate closer to the project.

Overall, this project succeeds through its Top Dawg Entertainment curation, which has created a wholly distinctive sound for these tracks that stays cohesive throughout. However, the ringleader, Kendrick Lamar, was extremely inconsistent, and the album may have been bettered by having a Black Hippy-led project, instead of a strictly Kendrick-led affair, to even the lyrical workload. Despite this, the bombastic African influences from Yugen Blakrok, Saudi, Sjava and more make this a landmark body of work in many ways.