The Kendrick Chronicles: Untitled Part 7/8 “untitled 07 | 2014-2025” @P_ACasas Explosive, mesmerizing and captivating are just a few words that come to mind when you begin to break down this three-piece record. Unlike the rest of the album, this track has no date tied to it. That indicates to me that this song was put together over a few recording sessions, instead of one sit down with his band and producers. The record was produced by Swizz Beatz’s five-year-old son, Egypt, which is the most insane part of this piece of this whole thing. As you navigate the record you experience a wide variety of emotions and feelings. You feel the anticipation as you’re climbing up the first part of the record, followed by a tidal wave of energy and booming production and topped off by a rare inside look at the making of the album as Kendrick releases the jam sessions between him and his band. You need a record to help find yourself in this cold world we live in? Look no further. “Me don’t want no problems, me don’t want tricks, me do want dollars, me want it big.” The first four verses make up the first of three parts of this song, let me just say the beat for this record might just be the best on the whole album. It has a West Coast Early Dr. Dre feel/ down south-dirty-grimy knock, it’s the best of both worlds. Like no one else can Kendrick manages to make the beat his own and work exclusively for his cadence. Mixed in with some fun flows Kendrick gave us a record that could be played in the club or in the whip as you swing through the city. “Love won’t get you high as this, drugs won’t get you high as this, fame won’t get you high as this, chains won’t get you high as this, juice won’t get you high as this, crew won’t get you high as this, hate won’t get you high as this.” Before long we get the customary Kendrick beat switch up and it leads to the most “Kendrick” moment of the entire record. “Our father who art in Heaven, Kendrick at large, came in the game with a plan of beatin’ the odds, what an accomplishment, broken promises, kept my focus anonymous till I dealt with the consequence, the greatest and latest mogul, you what time it is.” Bold and emphatic bars fire off like double edge swords but the melodic beat and steady flow make ingesting his words easier. It feels like a proclamation, his tone is filled with confidence and you can feel it exploding through the speakers. “Black excellence, pessimist died countin’ my coin, hope it’s evident that I inspired a thousand MC’s to do better, I blew cheddar on youth centers, buildings and bimmers and blue leather.” When you finally find yourself at the end of the journey, we see Kendrick at his most vulnerable state. We usually don’t get an artists master piece until it has been tweaked and perfected. The rawest and unmastered part of the album, it’s Kendrick and his band rocking out and constructing a record. It felt refreshing and real the first spin around. I loved it, it is my favorite part of the whole piece. I respect the art and craft of making music and seeing this aspect of the process really stuck with me. It gave me another perspective of looking at not only this record but every song I listen to from now on. And in my opinion that’s what polarizing art is supposed to do.
The Kendrick Chronicles: Untitled
Part 7/8
“untitled 07 | 2014-2025”
@P_ACasas
Explosive, mesmerizing and captivating are just a few words that come to mind when you begin to break down this three-piece record. Unlike the rest of the album, this track has no date tied to it. That indicates to me that this song was put together over a few recording sessions, instead of one sit down with his band and producers. The record was produced by Swizz Beatz’s five-year-old son, Egypt, which is the most insane part of this piece of this whole thing. As you navigate the record you experience a wide variety of emotions and feelings. You feel the anticipation as you’re climbing up the first part of the record, followed by a tidal wave of energy and booming production and topped off by a rare inside look at the making of the album as Kendrick releases the jam sessions between him and his band. You need a record to help find yourself in this cold world we live in? Look no further.
“Me don’t want no problems, me don’t want tricks, me do want dollars, me want it big.”
The first four verses make up the first of three parts of this song, let me just say the beat for this record might just be the best on the whole album. It has a West Coast Early Dr. Dre feel/ down south-dirty-grimy knock, it’s the best of both worlds. Like no one else can Kendrick manages to make the beat his own and work exclusively for his cadence. Mixed in with some fun flows Kendrick gave us a record that could be played in the club or in the whip as you swing through the city.
“Love won’t get you high as this, drugs won’t get you high as this, fame won’t get you high as this, chains won’t get you high as this, juice won’t get you high as this, crew won’t get you high as this, hate won’t get you high as this.”
Before long we get the customary Kendrick beat switch up and it leads to the most “Kendrick” moment of the entire record.
“Our father who art in Heaven, Kendrick at large, came in the game with a plan of beatin’ the odds, what an accomplishment, broken promises, kept my focus anonymous till I dealt with the consequence, the greatest and latest mogul, you what time it is.”
Bold and emphatic bars fire off like double edge swords but the melodic beat and steady flow make ingesting his words easier. It feels like a proclamation, his tone is filled with confidence and you can feel it exploding through the speakers.
“Black excellence, pessimist died countin’ my coin, hope it’s evident that I inspired a thousand MC’s to do better, I blew cheddar on youth centers, buildings and bimmers and blue leather.”
When you finally find yourself at the end of the journey, we see Kendrick at his most vulnerable state. We usually don’t get an artists master piece until it has been tweaked and perfected. The rawest and unmastered part of the album, it’s Kendrick and his band rocking out and constructing a record. It felt refreshing and real the first spin around. I loved it, it is my favorite part of the whole piece. I respect the art and craft of making music and seeing this aspect of the process really stuck with me. It gave me another perspective of looking at not only this record but every song I listen to from now on. And in my opinion that’s what polarizing art is supposed to do.