Rank: 4/5
Almost one year ago, Kendrick Lamar released his third studio album, the inspirational and complex “To Pimp a Butterfly.” He hasn’t rested since then either.
From features to his performances on “The Late Show with Stephen Colbert,” and the Grammy Awards, he continues to build his legacy on a foundation of intense social and political commentary as well as personal experience.
The foundation adds another level with K. Dot’s surprise release of eight cuts he didn’t put on “TPAB,” appropriately titled “untitled unmastered.”
Keeping in mind the album has only been out for less than a week, the songs on “untitled unmastered,” are obviously a little raw but his delivery is not.
We open with “untitled 01 | 08.19.2014,” a smooth jazz monologue transitioning into what is known as a standard Kendrick track by now. It’s a rapid fire analysis of a society leading up to very Judgement Day-related end.
The second track, “untitled 02 | 06.23.2014,” gives us the first memorable soundbyte of the project. “Pimp, pimp … hooray!” Something about the cadence of K. Dot as he demands to get Top and God on the phone over a more trap-style beat than we’re used to hearing makes this an early favorite. Everything about this track works in favor of the Compton native.
As I work my way to the middle of the album, “untitled 03 | 05.28.2013” comes as a bit of a juxtaposition but in the best of ways. It serves as a vehicle for Kendrick to deliver a rhythmic pro/con list for each race in America.
The shortest song of the album, “untitled 04 | 08.14.2014” clocks in at around 1:50 but still drops a quick pro-education message elegantly draped over a smooth beat and soothing vocals.
The jazz peak of this project is found on “untitled 05 | 09.21.2014.” A heavy bassline, some solid keys and cymbals all come crashing together in a beautiful manner. Anna Wise opens it up with her vocals as Kendrick comes behind discussing his loss of faith and the low expectations society has for its minority citizens. It’s after the contributions from labelmate Punch and the back and forth with Jay Rock that I have to take a moment to pause the album.
What I just heard needs a moment to settle.
Out of left field, we get a Cee-Lo feature and a flute on “untitled 06 | 06.30.2014,” and somehow, it all works. While not my favorite song, it’s certainly catchy and funky.
“Pimp, pimp … hooray!“
The phrase is back as we get to the end of the album and “untitled 07 | 2014-2016” is eight minutes of Kendrick on his most boastful behavior.
“I could never end their career if it never starts,” he said.
Even the way K. Dot raps about his dominant stance in the industry is intricately laced with similes while still being raw enough to make an impact.
And there’s a production credit given to Swizz Beatz’ son? Surreal.
Remember the funk I mentioned earlier? It takes over on “untitled 08 | 09.06.2014.” However the feel-good beat only serves as a counterbalance for Kendrick’s lyrics about his dismal glimmer of hope. Don’t let the vibe fool you, this is a pretty angry song lyrically speaking and a haunting way to end the album.
Many of the tracks feel right at home when I listen to “untitled unmastered.” following its predecessor.
The production is still clean for cuts that didn’t make the actual project. But I believe these eight tracks work better in this smaller effort than they would on “TPAB.”
Like any album, this should take a while to be digested. It’s so full of depth that a full week with it may not be enough. But from the first listens, you can see his evolution. The experimentation he has with his message and his music is apparent and I walk away from this album feeling the same way I did about his other projects — empowered.