Untitled, Unmastered, Unappreciated

When people talk about Kendrick Lamar’s discography, Untitled Unmastered is usually the album that gets overlooked. And honestly, I get it — it’s often framed as just the B-sides from To Pimp a Butterfly. But for me? It’s one of my absolute favorites. I really believe it’s time we recognize Untitled Unmastered as some of Kendrick’s best work — both sonically and lyrically.

I still get chills thinking about the string of live performances Kendrick did leading up to its surprise release. He would mash together verses from different songs, creating these insane, unpredictable switch-ups that felt electric.

The thing is, most artists’ leftover tracks never even see the light of day. They just sit on a hard drive somewhere. But Kendrick? He dropped eight of them — almost like a low-key flex — and honestly, these "scraps" outshine a lot of rappers' entire careers.

What really stuck with me was how bold and raw the project felt. The instrumentation is beautiful but gritty, and Kendrick's delivery — the way he changes his voice, almost like he’s drunk or spiraling — is absolutely intoxicating.

Untitled 01 immediately sets the tone with its apocalyptic energy. Kendrick carries over the theme of God-fearing dread from To Pimp a Butterfly, painting a terrifying picture of judgment day.

In Untitled 02, you feel him torn between two worlds — the glamorous life of success versus the painful realities of his old life in Compton. He’s wealthy enough to provide for those he left behind, but that distance still costs him dearly. People he loves keep dying, and in a haunting conversation with God, he’s warned: “It won’t be long.” It’s a heavy moment. You can almost hear the urgency in his call to bring the TDE family home before it’s too late.

Untitled 03 is layered too — different minority groups (Asians, Indians, Blacks) each offer Kendrick advice to better himself. But then you have the white man who, instead of giving, takes a piece of Kendrick. That contrast hits hard.

Untitled 04 is short but brilliant, juggling double meanings between the body and the mind — with "head" cleverly referring to both oral sex and education.

Untitled 05 is hands down my favorite. Anna Wise’s haunting vocals on the hook paired with that chaotic, beautiful Eric Dolphy saxophone sample — it’s an emotional rollercoaster every time I listen.

Then there’s Untitled 07, which wraps up with a raw snippet from the Untitled 04 recording session. Honestly, I wish that jam session was its own standalone track, but hearing Kendrick mid-creation is a treat any real fan can appreciate.

Sure, Untitled Unmastered is messy. It doesn’t have the polished, cohesive feel of a traditional album. But honestly? That’s part of its magic. Every idea, every rough edge shines through. As a die-hard Kendrick fan, I’m just grateful these tracks didn’t stay hidden.