On March 4, 2016, Kendrick Lamar surprised the world with untitled unmastered., an eight-track project that defied traditional album expectations. Stripped of conventional song titles and polished production, it felt more like a collection of sonic sketches – unfinished, yet profoundly complete in their rawness. Nine years later, it is a long-lasting testament to the power of artistic imperfection, the cultural weight of Lamar’s creative process and the era in which it was conceived.
The aftershock of To Pimp a Butterfly
By that point, Lamar was at the peak of his artistic and cultural influence following the seismic release of To Pimp a Butterfly. That 2015 drop was a revolutionary blend of jazz, funk and spoken word, a politically charged masterpiece dissecting systemic racism, fame and self-worth. Its impact was immediate and enduring, with songs like “Alright” continuing to resonate as if they were created yesterday.
With that, untitled unmastered. was built from the same creative source. These were the B-sides, the tracks that didn’t make the cut for TPAB, yet somehow carried an energy just as essential. Funny enough, A “Tonight Show” appearance a couple of months prior to untitled’s arrival was pretty much an unintentional teaser before anyone knew it existed – at the time, fans saw it as another one-off performance.
Generally speaking, Lamar always approached music like a jazz musician, in that his output is often fluid, improvisational (while still intentional) and emotionally raw. untitled exemplified this by leaning even further into the avant-garde influences that permeated its predecessor. Some tracks pulsed with erratic energy and the spontaneity of a live jam session while others, such as “untitled 07 | 2014 - 2016,” consisted of extended, stripped-down vibes akin to an impromptu freestyle.
The lack of proper song titles only added to the mystique. Each track was identified solely by a number and date, as if they were journal entries or historical records of a creative moment in time. This anonymity allowed the music to exist in its purest form, detached from preconceived narratives or expectations.
Political, spiritual and profoundly Black
Though loosely structured, untitled unmastered. still carried Lamar’s signature themes of racial identity, political resistance, spirituality and self-reflection. “untitled 03 | 05.28.2013.” was a cryptic-yet-deeply layered track where the Compton emcee presented perspectives from different racial groups – Asians offering financial wisdom, Native Americans advocating for land ownership, white people pushing materialism – before concluding that the Black experience remained the most spiritually rich-yet-socioeconomically exploited.
Similarly, “untitled 01 | 08.19.2014.” opened the project with apocalyptic imagery, blending biblical prophecy with reflections on societal collapse.
One standout track, “untitled 05 | 09.21.2014.,” carried a rhythmic intensity reminiscent of Washington, D.C.’s signature go-go sound. The frenetic drumming, deep bass grooves, and live-band energy mirrored go-go’s emphasis on percussion and syncopation. Much like how the DMV sound thrives on extended grooves and call-and-response dynamics, “untitled 05” radiated a sense of off-the-cuff artistry as Lamar, Jay Rock, and Punch exchanged verses over the ever-evolving beat. This track, like go-go itself, resisted rigid structure and allowed the live instrumentation to guide its direction.
Additionally, other key figures from the TPAB era contributed to the short-but-sweet body of work. CeeLo Green – who later admitted to not remembering the collaboration – delivered hauntingly soulful vocals on “untitled 06 | 06.30.2014.,” adding warmth to the album’s experimental aesthetic. Other vocal contributions came from the likes of Bilal, SZA, Anna Wise and Rocket.
The project’s production lineup was equally impressive. Terrace Martin contributed saxophone, keys and more across multiple tracks, while Thundercat’s intricate bass work gave untitled unmastered. its fluid, hypnotic quality. Other notable producers included Sounwave, Adrian Younge, Ali Shaheed Muhammad, Cardo, Astronote, Yung Exclusive and Frank Dukes, all of whom blended a wealth of different elements into a singular sonic landscape.
A unique and heartwarming footnote to the project was the involvement of Egypt Dean, the young son of legendary beatsmith Swizz Beatz and Alicia Keys, on “untitled 07 | 2014 - 2016.” At just 5 years old, Egypt crafted a melody that Lamar incorporated, allowing a child’s musical instincts to shape the song’s atmosphere. The track itself was a multi-part composition, and, notably, its final verse sparked speculation about whether Lamar was responding to barbs from Jay Electronica.
Influence and lasting impact
Nine years later, untitled unmastered. remains an anomaly in Kendrick Lamar’s catalog – an intimate, behind-the-scenes look at a genius at work. It is proof that sometimes, the incomplete can be just as powerful as the polished, and that raw emotion often carries more weight than refined execution. In its imperfections, untitled unmastered. is perfect.