![]() Lamar’s music seems increasingly preoccupied with rap, and songcraft generally, as a means of freedom, and as a subject worthy of its own scrutiny. Cézanne’s still-lifes were as much about the act of spreading paint across a canvas as they were about what, for instance, an apple looks like. Given his steady motion, continued on this EP, toward hip-hop’s avant-garde edges, it also reads as evidence of a Post-Impressionist sort of self-awareness. That particular jam session, which lasts for a little more than three minutes, spotlights Lamar’s sense of humor, the process by which he brings his songs into reality, and the importance he places on the pleasure conveyed by his live performance. “This is a fifteen-minute song,” he confides at one point, a smile in his voice. While he croons in his reedy near-whistle, his friends titter and offer occasional grunts of approval and excitement, feeding Lamar’s own satisfied glee. He alternates between singing a song that appears earlier on the tape, in much more polished form, as “untitled 04|” (the tracks all share this breezy naming convention), and describing the experience of performing that song. The second half of “untitled 07|2014-2016,” one of the last tracks on Kendrick Lamar’s new, abruptly released EP, “untitled unmastered,” is a scratchy recording of Lamar accompanied by a single electric guitar and obviously surrounded by several friends.
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