Depicted by the bands house emcee, Black Thought, Redford Stephens is the narrating character, a composition of many of BTs family members and people he and fellow Roots founder ?uestlove knew from their hometown of Philadelphia.
Listening to undun you hear Redfords hopes, dreams, mistakes and struggles, all told in uncompromising, uncontrived lyricism from Black Thought and soulful, mostly dark-hued arrangements from the band. Together, theyre not really so comparable to a film soundtrack. The final product is a fully developed story itself.
Their 13th album, undun stands in stark, artful, storytelling contrast to their last effort, Wake Up, a grandiose collaboration with John Legend that harnessed the R&B singers powerful register to blast classic Stevie Wonder-type heal-the-world anthems. In comparison, almost everything about undun (especially the horns and much of the vocal work) seems muted, including the tight coterie of rappers they favor against Wake Ups troop of R&B singers.
Big K.R.I.T. shows up early, rapping a verse refreshingly free of much of the nihilism and gross conduct of young rappers on standout Make My. Light, naive synths plink along while Black Thought warns against a young mans pressures: Tryin to control the fits of panic / Unwritten and unravel / Its the dead mans pedantic.
In fact, the intro to Make My resembles Takk...-era Sigur Rós more so than anything in modern hip-hop, at least until the beat kicks in and erases any concern that The Roots are consciously trying to sound like anybody but themselves.
Dice Raw steps up and delivers a startling truth and tragedy about drug-dealing and youth culture: Niggas learn math just to understand the crack price / Then dive in headfirst like a jackknife. Theres no cool-guy chest-beating here only skillful, alarming and vivid descriptions of a life in struggle. Its hard not to be reminded of Nas 1994 classic, Illmatic, in that sense.
The disc ends with a four-song suite starting with Redford, the poignant Sufjan Stevens track from the near the end of Michigan. Theres little in their version thats any different they appear to have bolstered the wordless vocals a little bit but its far from out of place. Rather, it seems a welcome beginning of the end; their little suite that provides the little ellipsis punctuation to the end of Tip the Scale, as if to suggest that the story continues every day.
Album of the year? I think it belongs in the discussion.