Bones will always be one of the top contenders for self-produced music and for being able to use a wide-array of different instruments of both acoustic and electronic sounds to make an entirely unique style. Unrendered is similar in these aspects as from the opening track, “Importing” uses only an acoustic guitar and a sample to construct a subtle, extension of Bones’ voice where the voice explains, “People are going to come around to your ideas, you know you were right all along, now people are going to start seeing that…” Bones then proceeds onto “CtrlAltDelete,” the first gaze into the sound of Unrendered and strikes in a distant, unpersonal touch where Bones similar style of monotone singing/rapping is present. Bones stays mostly monotone until he reaches the line, “Loaded my duffel with these blades and they just got polished, thinking about the day brings me nothing but silence.” There is a sudden jolt of energy and this is then transferred into the following, “SystemPreferences.”
Almost attacking on the vocal aspect, Bones is speaking much louder and the production is also becoming a slapping, full-frontal assault of 808 percussions and tapping hi-hats; there is also a beautiful key section that repeats through most of the track. Bones charges from the first seconds and the hook, as well as the verses are shining examples of Bones stylistic choices of rhyming, “I gotta know, bitch, I be lurking outside your door, wait wait. I gotta go, 24/7 live on the low, wait, wait.” To the then near-screaming of “Shut both my eyes, lay my head back, Envision nothing but forests that still intact. I see a place with no pavement, I right click save it.” The raw emotion in Bones’ voice is a welcome change from the monotone style and there are several tracks present on Unrendered where he puts every amount of energy into his lyrics.
A following track, “SunnyDay” is one of those tracks where Bones is yelling over the immense depth of a production scale and while the song feels incredibly short, “SunnyDay” reaches a chorus where Bones repeats, “Blunts in the backyard, Sunny days, Sunny days, Sunny days” in a short, almost stuttering style of diction. This style of rhyming is then carried over into the sudden sucker punch of “LifeRuiner” where a mere 7-seconds of introduction is played before the bass kicks the door down and Bones immediately starts rhyming in short verses, but then changes around the half-way mark when the beat changes and Bones explains, “I don’t give a fuck, whether you and your friends even fuck with us. It would be a dream, if I woke to discover you turn to dust.” This is done in an incredibly well produced stylish touch where the bass and Bones words match up perfectly and it makes for one of the stronger hitting tracks of Unrendered.
This is also the style chosen for the following track, “MustBeARealDragWakingUpAndBeingYou” where he takes a few shots at artists that only make an effort to rhyme and sing about prescriptions, “Okay you get money, okay, you fuck bitches, okay, you get higher than anyone living, okay, you be sipping, suppressants you mix them. Prescriptions, you need them like breathing, I get it. You’re cooler than who be the coolest and more, but Bones got something that you need to know.” After Bones goes on a near-minute rant, he ends the track with a small skit of “Vernon, the voice box of the fucking underground” who explains how he “can’t wait to fucking wrap my hands on this new Bones project,” but then converses with another person in the background about how Bones “drops that singing pussy shit but we can get past that as long as he keeps dropping those bangers.” Bones has made skits like these before and his past tapes, PaidProgramming and PaidProgramming2 have made efforts to show a sense of Bones’ and Team SESH’s sense of humor.
Bones then moves back into a singing style and on “MinorSetback,” Bones delivers one of the most beautiful uses of instrumental and verses in a combined effort to explain his methods of perfecting his sound, “You were asleep every night that I stayed up. Time steady passing, it’s hard to keep my balance, I know thinking’s normal but I over though to the point of damage.” Bones can create a disgusting anthem of pain and misery, then in an instant switch his style and become a beautiful specimen of deep and meaningful poetry. Bones ends “MinorSetback” with a lovely display of a hook and outro, “Tight rope walker, world down below, watch your breath and your step, for if you don’t you’ll go. Minor setback, nightmares never go on vacation. I need a second to breathe, my lungs are waiting for confirmation.” As a computerized voice then displays the word, “UNRENDERED” into frame, Bones moves onto the final steps of his latest project, Unrendered.
“TheGrandestNothing” is foreboding, and sounds similar to a horror movie organ that plays in the background as Bones then gets louder and louder, increasing with energy until he shouts, “Lights off just staring at the wall, cut to me, lights on, just nobody home.” This is the catalyst for Bones’ verse and he begins, “I’m shaking, I’m panicking, seconds I’ll never get back… Deadboy, I could never ever stop, no. Yelling underground but you making pop songs.” Bones then moves on to release one of his best hooks yet where he explains, “Stomp you in some shoes I ain’t drop yet, eyes drop to the floor, I’m a hot mess. I scream into the night like ‘stop this,’ Every time I do some shit I’m like let’s drop this.”
Bones finally reaches the end of Unrendered with an atmospheric instrumental that leads the listener into what sounds like a sewer, with dripping water and echoing synthesizer pads, “Exporting” takes the final moments of Unrendered into the next, ethereal journey. Not only has Bones continued to drop masterpiece after masterpiece with his music, but he has managed to start his own legion of loyal fans that will follow his music until the very end.