The new era of Kendrick Lamar is fully upon us. It began a year ago with a tweet that read, “Welcome to pgLang,” and a trailer for an enigmatic new creative agency founded with frequent collaborator Dave Free. Then, last week, Kendrick broke a year of radio silence to drop a link to oklama.com, which contained a brief, vague update on his mental state and whereabouts. After musing about his beach cruiser collection and the heightened importance of spirituality in his life, he let it slip that his next album will be his last with Top Dawg Entertainment, the label that’s been his home for the past 15 years.

“Family Ties” is Kendrick’s first official collaboration with rumored cousin Baby Keem, who’s faced accusations of nepotism as he’s made inroads with his own releases. The track is split into two parts, with the rappers dividing responsibilities down the middle. The first half is triumphant, marked by a chorus of celebratory horns that pair nicely with a simple drum beat. Keem’s lengthy verse is one of the best performances of his young career. Early on, he matches the explosive bursts in the production with a staccato flow; then, as the beat smooths out, he mirrors it with a stream-of-consciousness groove that descends into controlled chaos. It’s a moment of homecoming for Baby Keem, who instead of distancing himself from his presumed relative, leans into the connection and grabs the spotlight with ease.

Kendrick’s verse in the second half veers off the deep end. The beat switches completely, becoming darker and more muddied. He embarks on an extended ramble, zeroing in on phrases like, “I am the omega, pgLang, Rollie gang, S.I.E.,” and, “I’m not a trending topic, I’m a prophet,” sounding increasingly unhinged with each bar. He reaches for a bizarre Hulk Hogan impression, distorting his voice as he finishes multiple lines with “brother.” There’s no immediate rhyme or reason to these choices, but Kendrick’s oddball raps and nonsensical flow switches express a newfound creative freedom. His future is his own.