{"id":1590,"date":"2018-10-31T21:13:42","date_gmt":"2018-10-31T21:13:42","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/piecesofaman\/"},"modified":"2018-10-31T21:13:42","modified_gmt":"2018-10-31T21:13:42","slug":"piecesofaman","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/piecesofaman\/","title":{"rendered":"Mick Jenkins’s Undefinable Step Up: “Pieces of a Man”"},"content":{"rendered":"
<\/p>\n
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<\/p>\n

\"Pieces<\/p><\/div>\n<\/p><\/div>\n<\/figure><\/div>\n

\n

by Noah Adaikkalam<\/p>\n

Chicago\u2019s finest, Mick Jenkins, comes in hard with his second studio album that dropped on Friday. The rapper\u2019s sound has developed notably since his last release, as he refuses to settle in the heart of a single genre, rather drawing inspirations from Jazz, lo-fi hip-hop, and rap, into one massive conglomerate. The sound is unique, like his voice, and continues to help him stake out his own corner of Chicago. But most importantly, the album showcases what Mick does best: throwing well-written lyrics over distinct beats, and combining his sound with big-name producers, like BADBADNOTGOOD or Kaytranada, to deliver a record that leaves us stuck on both his lyrics and his beats.<\/p>\n

The first track, \u201cHeron Flow,\u201d opens with an extended monologue over the sound of a cheering crowd, casting somber shadows that drift into Julian Belle\u2019s vocals and wind the track to its eventual end. For seasoned listeners, this is a familiar feel to Jenkins\u2019s past work: an interconnected narrative deeper than just the music on a track. Riding off of the opening track is the harsh transition into \u201cStress Fracture.\u201d Jenkins\u2019s ambition here is still ever present, mixing sounds way tie-dye shirts are made in the summer. The second track sounds grittier, with laid-back rapping, occasionally accompanied by his own singing. Each part weaves in perfectly over the repeating minor chords and background vocals of Mikhal Anthony. An abrupt ending quickly picked up by \u201cGwendolynn\u2019s Apprehension\u201d rounds out the first arc of Jenkins\u2019s sound. This song sounds something like a Homeshake cut. A very light synth spreads out over the entire track, allowing Jenkins\u2019s to easily switch between rapping and singing, his voice going deep and lifting back up for the sung choruses. This song is produced by Black Milk, a Detroit native, and prominent underground producer.<\/p>\n

Then we hit the second arc of sound in the album. \u201cSoft Porn,\u201d \u201cGrace & Mercy\u201d and \u201cBarcelona\u201d have a much darker and intimidating sound to them. They also all rely on a much harder beat where the gliding synths are still prominent, but the foundations of each track are built in the beat. \u201cSoft Porn\u201d has an ominous track underneath it, the intro comes right out saying: \u201cWhat’s so hard about the naked truth? \/ I scream about it ’til I change it, oh \/ And still I wonder am I breaking through at all.\u201d Throughout the rest of the song, Jenkins uses wordplay, running a dual metaphor between this universal idea of the truth and the way transparency is manifested physically in \u201csoft porn.\u201d The same ominous tone carries over through a keyboard in \u201cGrace & Mercy.\u201d Jenkins falls back on the chorus, \u201cWake up thanking God for these brand new mercies\u201d. The lyrics of the songs focus on stunting; counting the ways in which he is doing more than those around him. But ultimately, it relates back to prayer, and thankfulness to God. \u201cBarcelona\u201d finishes it off, relying on bongos and sliding baselines that haunt, casting the end of this musical arc in some ambiguity. It\u2019s a somewhat unsettling end to the previous two tracks.<\/p>\n

A brief spoken interlude, where he and his friends talk about weed, breaks this arc up from the transition into the third. It\u2019s a similar narrative to the beginning, following suit from The Healing Component<\/em> (2016), a move most well known in Ms. Lauryn Hill\u2019s The Miseducation of Lauryn Hill<\/em> (1998).<\/p>\n

We re-enter the album with \u201cReginald\u201d, \u201cPadded Locks\u201d, and \u201cGhost\u201d before another brief interlude at \u201cHeron Flow 2\u201d. The third musical arc, \u201cReginald\u201d and \u201cGhost\u201d are pretty similar sounding tracks. \u201cReginald\u201d has a much heavier jazz sound, rooted in a calm repeating drum line and an electric keyboard riff. Jenkins raps in his signature deep voice with some musical interludes from Ben Hixon, a new electronic musician from Dallas. \u201cGhost\u201d has an even darker tone to it. It is much more electronic, a piece combo produced by Dee Lily (known for Mick Jenkins\u2019s \u201cStrange Love\u201d and Rejjie Snow\u2019s \u201cPink Lemonade\u201d), OV, and THEMPeople. The sound is much more complex with synths, multiple keys riffs, and a drum sound centered on a high hat. The three producers come together very effectively over Jenkins\u2019s work, providing layers that add a much-appreciated diversity to his typical sound. A specific focus should be put on THEMPeople, a four-member Chicago production team. They were regulars on Jenkins\u2019s last studio album The Healing Component<\/em> and has clearly inspired his sound since, as shown in this track.<\/p>\n

\u201cPadded Locks\u201d, the song splitting the two mellower tracks before them, drifts out of the musical arc becoming the climax of the album. Kaytranada produced the song, giving the synths and backtrack his patented futuristic sound. The synths tessellate over one another to create almost a space organ sound. Additionally, Ghostface Killah is featured. Jenkins\u2019s and Ghostface\u2019s voice coincide together verywell, both heavy and passionate. The entire song rotates between flexing and urging listeners to question authority, ending the chorus with \u201cFuck the dramatics, we get through them locks when they padded.\u201d It is a deeply meditative song, low voices contrasted with light synths, asking important and unspoken questions.<\/p>\n

\u201cHeron Flow 2\u201d is a much needed lighthearted interlude. Laughter accompanying the words, as it fades out and the third musical arc continues. At this point, the next four songs all follow that same lo-fi hip-hop vibe and sound. \u201cPlain Clothes\u201d features more of Jenkins\u2019s singing, at some point harmonizing with himself and soaring up into the highest reaches of his vocal range. \u201cPull Up\u201d has that similar foreboding sound, specifically in the keys, with an old school beat behind it, courtesy of THEMPeople. \u201cConsensual Seduction\u201d has a really interesting give and take within the beat, including a steady drum that fluctuates with a fun bass riff and nice soft keys. Corinne Bailey Rae\u2019s voice, similar to Ravyn Lenae\u2019s on \u201cCommunicate\u201d from 2016, offers a beautiful soul contrast, and a yet unheard female sound on his record. \u201cU Turn\u201d is a standard chill Mick Jenkins track, his lyrics sounding somber over minor chords and sliding synths- the collaborative musicality of THEMPeople heard in the background yet again. None of this tracks are sub-par, but compared to the musical diversity of the first half of the record, the consistency is less gripping. The argument could be made that it is simply Jenkins finding his sound, but it is too late in the album to establish a sound.<\/p>\n

Thankfully, the last two songs swing back out into the randomness of Jenkins\u2019s sound. \u201cUnderstood,\u201d Kaytranada\u2019s second masterfully produced piece features a steel guitar chord that slides down the frets, while a simple 1-2 drum beat plays under it. His lyrics acknowledge an ingenuine nature between the language of money and that of truth, touching on his ability to speak both. It\u2019s mixed phenomenally well, as it should be, and Jenkins\u2019s sing-rapping on top of it gives the steel guitar riff a nostalgic, homey feel.<\/p>\n

Finally, the album comes to an unexpected end with \u201cSmoking Song.\u201d Produced by BADBADNOTGOOD, it has a similar sound to the last joint production they did, \u201cDROWNING\u201d off of The Healing Component<\/em>. An upright bass dominates the heart of the song. Different instruments take turns dancing with the upright bass. A saxophone riff has a solo across the track, taking the spotlight for a second. Following that a radiating synth comes in, buzzing and beeping repeatedly. His lyrics reflect on the path he\u2019s come down as a rapper, emphasizing, as expected, smoking.<\/p>\n

This record is a definite step up for Jenkins. His sound expanding, yet still undefined, as he alludes to some consistency towards the middle of the record but jumps back out of it for the last two songs. His raps and singing have a similar lyrical depth to his previous discography, tightening ever so slightly. I\u2019m content with it, happy to have something to play on repeat until his next project takes me in an unpredictable direction. <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Chicago\u2019s finest, Mick Jenkins, comes in hard with his second studio album\u2026<\/p>\n","protected":false},"author":1,"featured_media":1591,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-1590","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nMick Jenkins's Undefinable Step Up: "Pieces of a Man" - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, 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