established himself with, mainly producers from Top Dawg's in-house production team, Digi+Phonics. In an interview for XXL, Lamar said that the album would not sound like Section.80, but will return to his Compton roots: "I couldn't tell you what type of sound or where I [will] be in the next five years as far as music... Back to the neighborhood and [going] back in that same space where we used to be, got [me] inspired. So this album won't sound like Section.80." Lamar also said that the album will showcase the influence of his hometown: "The kid that's trying to escape that influence, trying his best to escape that influence, has always been pulled back in because of circumstances that be." Recording and production Recording sessions for the album took place at PatchWerk Recording Studios in Atlanta, Encore Studios in Burbank, TDE Red Room in Carson, and "At My Mama's Studio" in Los Angeles. The first song that Lamar recorded for the album was "Compton", which featured Dr. Dre. The track serves as the twelfth track on the album, and acts as the standard edition's closing track. On August 15, 2012, Lady Gaga announced via Twitter, that she had collaborated with Lamar on a song called "Partynauseous", for the album, and would be released on September 6. However, on August 23, Gaga announced that the song was no longer being released on that date and apologized to fans for the delay. Eventually, it was confirmed that Lady Gaga would not be featured on the album due to timing issues and creative differences. The song was later revealed to be re-titled "Bitch, Don't Kill My Vibe". On November 8, Gaga released the version she was featured on, which had her singing the chorus and a verse. Lamar expressed he was surprised and happy that Gaga released her version of the song, as it displayed confidence in their work together. Music and lyrics Good Kid, M.A.A.D City has a low-key, downbeat production, with atmospheric beats and subtle, indistinct hooks. It eschews contemporary hip hop tastes and generally features tight bass measures, subtle background vocals, and light piano. Writers draw comparisons of the music to Outkast's 1998 album Aquemini. Andrew Nosnitsky of Spin cites the music's "closest point of reference" as "the cold spaciousness of ATLiens-era Outkast, but as the record progresses, that sound sinks slowly into the fusionist mud of those sprawling