The vices are not left unconquerable with Kendrick offering the solution being head in ‘Untitled 4′ where he brings label mate SZA for a smooth duet over the solution to the woes of the black man. These woes are delivered over creeping keys, alien synths, and with a swaying singing that hooks instantly. Kendrick begs to have God himself answer the phone on the second track ‘Untitled 2′, spilling the sins he witnesses and contrasting his faith with his love of the vices that he admits can end him. Kendrick Lamar does not rap about things being alright for blacks in America, but how he is witness to jigaboos, Styrofoam, and ears deafened by the horns of Gabriel. The compilation showcases the shift from religion to race in the creation of ‘To Pimp a Butterfly’. Sin, redemption through knowledge, and struggles of being black in America replace the black power anthem.
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Kendrick Lamar’s ‘Untitled Unmastered’ reveals a set of themes that ‘To Pimp a Butterfly’ did not have, showing a discarded path.
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This leads to the album having a raw feeling, something uncharacteristic of the traditionally full Kendrick releases. This feeling is evident throughout the compilation with the lack of mastering and songs not being completely fleshed out. The compilation stands as a well-crafted rough draft, an insight into the ideas that Kendrick delved into during his three years. Kendrick Lamar gives listeners an insight into the three year process that went into the creation of ‘To Pimp a Butterfly’. The compilation continues ‘To Pimp a Butterfly’s experimental jazz-hop sound throughout and showcases the sounds and themes that weren’t to be on the original cut of the album.
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Recorded during jam sessions of the album, they boast features and production label mate Jay Rock, Swizz Beatz, CeeLo Green and more.
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City’ and his Grammy award-winning black power album ‘To Pimp a Butterfly’. These demos were recorded during the three years between his debut classic ‘Good Kid M.A.A.D. Album artwork used for review purposes only.