It's also the collection's most fully-formed song perhaps the only one that emerges as a finished thought here.
It's insightful and uncomfortable, if not outright offensive: Asians are linked to Eastern philosophy, Native Americans to the land, Blacks to lust, whites to greed. It's classic Kendrick-a reductive-yet-sprawling fever-chill of observations on race and the music industry that mixes stereotype with history and wisdom. There's little doubt that just about all of these songs are from TPAB sessions-"untitled 03," subtitled with a date of "," had already been performed four months before Butterfly's release, during the the long goodbye of "The Colbert Report" with help from Terrace Martin, Thundercat, Bilal, and Sonnymoon's Anna Wise. But it feels like an extension of that album's world-an asterisk, perhaps, or an extended coda. Now, he’s released a handful-and-a-half of song sketches in a project that's neither album nor mixtape (or even EP or LP), and seem to have even less a chance of radio play than TPAB did upon its arrival. TPAB-a Grammy-winning ride of densely knotted rhymes, tangled ideas, and deep sounds-positioned Kendrick Lamar as a reluctant messiah figure, and its dialogues with self and manifestations of God resisted quick-and-easy unpacking. No other rapper has taken up so much real estate in the past 12 months while releasing so little music and sharing as little about themselves as Kendrick. Because when the promotionally frugal, preeminent thinking-person's rapper of a generation lets forth a largely unexpected collection of demos into a click economy of hot takes and broadcasted enthusiasm, the friction of opposites is enough to spark the kind of hopes that see meaning in everything. It's tempting to read a lot into those words in fact, it's tempting to delve deeply into everything about his latest release. "I made To Pimp a Butterfly for you," raps Kendrick Lamar on the opening cut from untitled unmastered.
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