Undun is the tenth studio album by American hip hop band The Roots. It was released on December 2, , by Def Jam Recordings. The album was recorded in sessions at several studios in Philadelphia and New York City. Production was handled primarily by Questlove , the band's record producer and drummer. They were joined by guest contributors, including vocalist Bilal and rappers Big K. Musically, Undun incorporates influences from neo soul and indie music.
Related Articles
Navigation menu
Fulfillment by Amazon FBA is a service we offer sellers that lets them store their products in Amazon's fulfillment centers, and we directly pack, ship, and provide customer service for these products. If you're a seller, Fulfillment by Amazon can help you grow your business. Learn more about the program. Undun quickly reaffirms the creativity of the outfit that are notorious for pushing the envelope. The album's first single is "Make My" featuring Big K. Undun is an existential re-telling of the short life of one Redford Stephens Utilizing a reverse narrative arc, the album begins as the listener finds Redford disoriented--postmortem--and attempting to make sense of his former life.
Customers who viewed this item also viewed
Please enable Javascript to take full advantage of our site features. Edit Master Release. Hip Hop. Shawn Gee Management, Management. Karl B. Leesa D. Mark Tavern Administrator. Kenny Gravillis Art Direction. Kristen Tiengst Artwork.
It's a concept record that tells the story of a man dying, in reverse. Undun is the story of a man, Redford Stevens, dying in reverse, rewinding from the moment he became a statistic and hitting the points in his life where he's at his most self-aware. That he's a criminal who got caught up in the familiar street-hustle trappings that the modern media's documented countless times is a pivotal detail-- it's hit at an angle that seems to emphasize the futile inevitability of it all. His life could be any number of misdirected narratives that ends with a toe tag, and what details listeners learn about him are hazy, buried under archetypal turns of fate and decisive struggles. That this protagonist is a fictionalized composite of a handful of real people, filtered through a matter-of-fact narrative that splits character ambivalence with journalistic impartiality, only makes his lack of direction and the failure of any real closure stand out even more. So the Roots ' latest album isn't a sprawling, rise-and-fall crime story, not a condemnation or a veneration of a man living outside the law, not a bullet-riddled grand guignol heavy on explicit details of soldiers getting cut down.
