TiaCorine "34Corine" EP Review

By Kaila Cherry

TiaCorine’s path to where she is now was slow, steady, and calculated. Although Corine had been making music since she was in the third grade, it was not until 2018 that the 27 year old rapper would release her breakout single. Her infectiously catchy track “Lotto” took over Tik Tok and Instagram throughout 2019 and garnered praise from big names like SZA, A$AP Rocky, and Drake. However, TiaCorine was not ready to release a full project at the height of her virality. This is an unprecedented and bold move for her. In our current zeitgeist, immediacy has become the norm for everything from album drops to Amazon package deliveries. Yet TiaCorine decided not to ride on the hype and to instead build a solid fan base before putting out her first project. The wait was worth it. At the start of September, TiaCorine released her debut EP 34Corine. Punchy, bubbly, and fun, TiaCorine undoubtly leans into the niche she has created for herself (which she calls “Anime Rap”) and makes it clear to anyone listening that she is worthy of our respect. 

34Corine derives it’s name from the rapper’s hometown of Winston-Salem, North Carolina. Referred to as the tre-fo by locals, TiaCorine’s proximity to the Dirty South, Trap, and East coast hip hop/R&B scenes meld together on the production of her debut project. TiaCorine plays with flow, pitch, and inflecction all throughout the EP. On tracks such as “IYKYK” and “In My Room” she utilizes autotune as a character to accent her “girliness” while subverting what exactly that “girliness” is supposed to encompass. In her sweet pitched up voice, Corine makes it clear that men shouldn’t touch her if they can’t afford her, that she is not here for the “stupid fuck niggas” because she is too “awesome.” Along with being girly and bragadocious, TiaCorine can also be sensual and alluring. The track “34 Faucet” is enchanting with it’s 2000s-esque R&B sound, sweet melodies, and sexually charged lyrics are sure to attract any man she sets her sights on. 

Where TiaCorine shines the brightest, however, is on the tracks where she shows us she can truly rap her ass off. On “30” and “Mine,” Corine flexs her ability to rap fast, coherently, and with vibrant rhymes and clever wordplay. Her humor comes out on lines like “Damn, I just popped a bean/Damn, what’s a bean?” and “Booty too bad, Nickelodeon slime/Got spare change but still look like I’m a dime.” These tracks are the most high energy of the bunch and with them they bring so much carefree fun to the project. “30” and “Mine” are the ideal songs for recording yourself throwing it back in your bedroom, which is perfect for these quarantine times. (PSA from Kaila: Wear you masks and keep 6 feet from others! Damn!) 

34Corine is one of the most refreshing, lighthearted, and addicting EPs to come from an up and coming artists this year. TiaCorine’s name is getting murmurs when it needs to be getting shouts. Don’t be that person who, in a year or two one she blows up, will be thinking “Wasn’t that the girl who made that Tik Tok song?” Instead, be the one who has been there from the start, has followed her growth, and can say “I’m proud to see that TiaCorine is finally getting the recognition she deserves.” That all starts with giving her latest EP a listen. You won’t regret it. 

Favorite Tracks

Mine

30

34 Faucet

Rating: 7

Listen to 34Corine here:

Listen to 34Corine on Spotify. TiaCorine · Album · 2020 · 8 songs.

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Was a 6pc Enough?: “6pc Hot EP” Review

By Courtney Fields

R&B’s favorite crooner is finally back. Fresh off of a 2-year hiatus (as far as projects are concerned), 6lack has delivered his new “6pc Hot EP” fresh at our doorsteps. The Atlanta native has returned with his smooth, reverb-ridden vocals, with a side of bars. A set of songs that’s perfect for those late, summer night drives, with the windows down… I know you know exactly what I mean. 

“ATL Freestyle” was the EP’s only single, it sort of got lost in the whirlwind of events that were happening on, and prior to the songs release date: May 28th, 2020. Along with the song, 6lack gave us yet another reason to stan, providing fans with a message that clearly stated his stance on what his people, Black people face day in and day out.

6lack wrote: “A few words… With the amount of pain & anger, I feel in my heart, releasing a new song at this very moment doesn’t feel like a great priority.Nothing ever prepares you for how to feel when you’re constantly faced with the last dying breaths of Black people, my people, on your television or phone screens every day.”

See the rest of 6lack’s message to the people here. “ATL Freestyle” is one of my favorite songs of the year, it’s a mirror of exactly what I think perfect music is; slow, a mixture of singing and rapping, sad and brash lyrics. It is a “B-side” track, like most of 6lack’s music. The song could fit on Tha Carter II, an album full of B-sides… it’s also one of the few perfect albums if you weren’t aware. 

“Long Nights” is the EP’s second track, and it’s a perfect description for all those sneaky link ups you freaks were doing during quarantine. At its core, “Long Nights” is about a relationship that could last one night, or many. Ari Lennox’s background vocals take the track to a whole new level.

Track 3, “Float” may just be one of the best songs that sum up 2020 so far. Generally, everyone is trying to “stay afloat” but 2020 has been one of the more ruthless years in the 21st century. 6lack speaks on all of the adversity he’s faced in his life up to now. “I gotta put my shit back on track / Been down bad too many times / Know that it’s bad, but it’ll be fine”. He even mentions the racial tensions in America, “It's a big war goin' on outside / Grab your lover, time to slide”. In the midst of COVID-19, civil unrest, and his own personal struggles; all 6lack asks of his presumed partner on this song is for her to love him through it all “Make sure you love me ‘fore the world go out in flames”.

“Know My Rights” ft. Lil Baby is one of those songs that makes you recall the days when 6lack was a battle rapper. The two Atlanta natives rap about the extraordinary amount of fame, and riches they’ve managed to get. They make sure to remind us that they’re self-made men as well, so they tend to shy away from the opinions of others. It’s not often you hear 6lack flex on his songs, so this type of track fit perfect with a Lil Baby feature. 

In “Elephant In The Room”, 6lack is having an argument with a significant other who’s questioning his motives within their relationship, and they’re not sure the rapper’s priorities are in check. Rather than get nowhere with small talk, 6lack lays it all on the line, “You ask me if I'm choosin' my dreams over you, I said, ‘Hell, yeah’ / “I got so much love I can show, but I got so much shit left to do” / “Say what's on my mind don't make me choose, I might piss you off”. The “Elephant” is the issue the two of them have clearly been avoiding for some time now, and it seems to be 6lack’s music career, something he’d never give up on since he’s been chasing it all his life. 

I never thought there would be a way to make the end of quarantine (COVID-19) sound romantic, but sure enough here 6lack is with a post-virus ballad. 6lacks sings about going outside to play again in almost every other bar on track 6, ”Outside”. He reminisces the days where he was able to be with his lover physically, with no fear of getting each other sick. 

So, was a 6pc enough? I’d say so, the project is short but the quality of the tracks makes up for the lack of tracks. 6pc Hot EP may be the only project out right now that sums up almost everyone’s lives at the moment. Quarantine has many of us fairly lonely, not seeing our friends and significant other as much as we want (“Outside”), the civil unrest in America has kept anyone with a single shred of compassion spending days thinking about how fucked up this country is, and in turn trying to find a way to find some peace within all of the chaos (“Float”), and by spending most of our days at home, coupled with everything going on with the world there have been ample opportunities for the door to be opened to some tough conversations (“Elephant In The Room”).

Favorite tracks

Float

Long Nights

Know My Rights (Feat. Lil Baby)

Rating: 8

Listen to 6pc Hot EP here:

Listen to 6pc Hot EP on Spotify. 6LACK · Single · 2020 · 6 songs.

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Leveling Up: 'State of Emergency' EP Review

By Colson O’Connor

On May 8th, 2020, Lil Tjay silenced all the haters with his new seven-track EP titled State of Emergency. It’s clear that this project is dedicated to the people of New York as all of the features on the record only come from the hottest rappers in Brooklyn. Some of these features include Fivio Foreign, Jay Critch, J.I. the Prince of N.Y, and the Brooklyn legend Pop Smoke.

Compared to Tjay’s previous work, this EP is much harder hitting. Aside from his two slower songs “Ice Cold” & “My City”, all these tracks consist of bass-heavy beats and hard-ass verses that prove Lil Tjay is leveling up in the game. My favorite aspect of this project is that it really showcases his growth, which isn’t necessarily a trend right now as artists rush to release music during quarantine.

If there’s one thing that is communicated clearly in State of Emergency, it’s that Tjay isn’t stopping until he is crowned the king of New York. Considering he dropped his debut album True 2 Myself in 2019, and he’s already released this EP, I think another full album is not too far away. It’s very clear that he’s been grinding in the studio and he’s got a lot left in the tank. This record and his recent singles are just what we needed to hold us over until we get the new album, which I assume is going to be the best project of his career (to date).

At only 19 years old, 2020 has already been a huge success for Lil Tjay, and we aren’t even halfway through the year. His work is very promising and we are only witnessing the tip of the iceberg.

Listen to State of Emergency here:

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Angels, Pablo Escobar, and Wet Kisses: 'To Feel Alive' EP Review

Kali Uchis is undoubtedly one of the most influential alternative pop girls of the last decade. Although she released her first EP Drunken Babble in 2012, it was not until 2015 that Uchis would start to gain traction. That year, Kali Uchis dropped her seminal project Por Vida. This second EP launched the Colombian-American artist into stardom as she captivated young audiences with her dreamy vocals, romantic lyrics, and nostalgic instrumentals. Much like Lana Del Ray, Kali Uchis was able to cultivate her image through the modernization of the vintage aesthetic. Her conceptualization of the “contemporary 70s babe” made Uchis a popular figure on the once popular blogging website Tumblr. An avid user of the platform in late middle and early high school, I can credit Tumblr to putting me on to Kali Uchis right as her career was truly getting started. Since Por Vida, Kali Uchis has gone on to collaborate with heavy hitters in the rap, R&B, funk, and electronic scenes such as Tyler the Creator, Daniel Casear, Steve Lacy, Vince Staples, Gorillaz, and Bootsy Collins. In 2018 Kali Uchis released her first studio album Isolation to critical acclaim.

Two years later, Kali Uchis posted on her Instagram that she planned to release a new album this year but is waiting until a later date to drop it.  In the meantime she wanted to “give her babies Something.” That something was To Feel Alive, a four song EP Uchis says was recorded in her room alone a week prior to its release. In the same post she writes, “nobody needs to listen to it, & i dont want ANYONE to buy it.” Nearly a week later, Kali Uchis officially released To Feel Alive on multiple streaming platforms. The cover art, painted by Instagram user oh_de_laval, features two versions of Uchis eating each other out. On the left is the blonde “Por Vida era” singer on her back with her legs spread. On the right is the black haired “Isolation era” Kali Uchis laying on her stomach eating the pussy of her gal pal. As provocative as this image is, it is actually an accurate representation of the sound the project encompasses. The first two tracks, “honey baby (SPOILED!)” and “angel” are reworks of unreleased songs by Uchis from 2013. The last two tracks, “i want war (BUT I NEED PEACE)” and “TO FEEL ALIVE” are new and take on a more rhythmic and self reflective vibe, something Uchis embraced on Isolation. Sweet, sticky, and endearing, To Feel Alive  is a collection of tracks truly meant to satisfy the dedicated Kali Uchis fan. If you are able to immerse yourself within Uchis’ alluring and fantastical world despite a few over exaggerated vocals here and cliche lyrics there, To Feel Alive is the project for you. In this regard, I can say that To Feel Alive is the project for me. 

Artwork by oh_de_laval

 To Feel Alive opens with the track “honey baby (SPOILED!).” Originally released in 2013 under the title “honey baby,” Uchis adapted the song to be more soft, endearing, and lovely than before. She subs out the booming bass in the first version for bright and airy chimes coupled with chirping birds. Uchis subbed out her rap verses for vocal riffs and ad libs to add a pillowy layer to the song. She changed the concept of “honey baby” entirely, flipping the song from a smooth domineering bad bitch anthem to a dewy love ballad. The instrumental and lyrics are as sappy as can be in the cutest way possible. If there is something Kali Uchis knows how to do well, it is to musically synthesize the essence of romance and give her listeners the warm feeling that comes with being deeply attracted to someone. At certain points on “honey baby (SPOILED)” however, Uchis’ vocal performance falls flat as she moves through keys awkwardly in the first third of the song. She does eventually find her footing, and when she does I am able to give myself more to the music and begin the journey Uchis wants to take me on. 

After “honey baby (SPOILED)” is another track adapted from several years prior. Uchis takes the song “Pablo Escobar” and rerecords it with altered vocals and lyrics. Now under the name “angel,” the track maintains its original instrumental, unlike “honey baby (SPOILED).” The psychedelic feel of the original “angel” is a perfect addition to To Feel Alive, further propelling the project into the realm of mysticism and allure. On the new version, Uchis drops the pitch of her voice to be more natural and relaxed. This a welcomed alternation as Uchis’ vocals were high pitched and nasally in the original. She also replaces the second verse in “Pablo Escobar” with an intoxicating bridge in “angel.” The repetition of “How do I feel for you? High, High High High/ How does it feel for you? High, High, High High” is trance inducing. With Kali Uchis working from an already great track, there was little she had to do to make it much better. Yet she was able to elevate the song beyond what I could have imagined when first heard it as a young teenager. Just like me, “angel” has grown up and it is a more developed and mature version of its prior self. 

Kali Uchis in the official lyric video for “i want war (BUT I NEED PEACE)”

Next, Uchis features a new track entitled “i want war (BUT I NEED PEACE).” Slower in rhythm and somber in tone, the song sees Uchis in a more grounded place as she grapples with a dysfunctional relationship. He takes and she gives; and she is fed up with it. “I want war (BUT I NEED PEACE)” builds on itself sonically. The song opens simply with piano and Uchis’ voice. Halfway through the verse, the drum machine kicks in and her harmonies begin to play a more prominent part in the soundscape of the track. The narrative of the track transforms from forlorn to “fuck you” as Uchis is able to both lament the loss of what could have been a strong relationship and celebrate the personal growth that came from the experience. Not only did she ultimately find peace, she found a man who not “treats her better than he did,” he also “gets her pussy wetter.” What more can anyone ask for? 

To Feel Alive closes with the title track. Just barely skirting the edges of acapella, “TO FEEL ALIVE” is faintly reminiscent of the opening track to Por Vida, “Sycamore Tree.” However, these tracks could not be more different. Accompanied only by an upright bass, Uchis uses the bareness of the instrumental as the canvas to display her emotional turmoil. The song has a stream of consciousness type of flow with Uchis exploring failed relationships, her view of herself as an “outsider,” and her tendency to love despite all odds, perhaps even to her own detriment. Overall, “TO FEEL ALIVE” is soothing and reflective despite it dragging itself out a bit in the last third of the track. With the addition of this song, Kali Uchis ends her EP on an unresolved but not unsatisfactory note. What will it take for Uchis to feel alive? How does she feel about herself now? Has she been able to resolve these issues she feels within herself? Perhaps these questions will be answered with the release of her full length album. 

Kali Uchis set out to “give her babies Something” and she delivered. To Feel Alive embraces where Uchis has been and where she is going. She rewards dedicated fans with official releases of the tracks they have loved on Soundcloud and Youtube for years while also providing new songs for them to enjoy until her big release is ready. Until then, I, like many others, will be waiting eagerly to see what Kali Uchis has up her pink glittery satin sleeve next.

Listen to To Feel Alive here:

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The Return of the Raf Simons Raven - Platinum Falcon Vol. 1 EP Review

By Carter Fife

Last Week Oakland’s very own Guapdad 4000 released a small collection of previously released singles into one *cohesive* package: the Platinum Falcon Vol. 1 EP. Clocking in at 18 minutes with 6 tracks (5 of which had already been released over the past few months), this short collection is the first project that Guapdad has released this year, after 2019’s long-awaited Dior Deposit, being all over Dreamville’s ROTD3, and 2017’s Scamboy Color. With his most recent singles nicely bundled together now, it seems like this is a good time to catch up on any you may have missed.

With the humor of Zack Fox / Father sense of humor and the charisma of Vince Staples / Lil B, Guapdad 4000 has quickly made a name for him himself in hip-hop. ‘Platinum Falcon’ is probably one of the best songs to listen to in order to understand what the Bay Area native is all about. Like most Guapdad songs, it is a cleverly written bop featuring an original flow and many humorous bars. While ‘Greedy’ is a bit more aggressive than most tracks on the project, it isn’t until ‘Dolce and Gabbana Dalai Lama’ that the listener is given a rare intimate view of the California M.C. The new track from the collection, ’Trade Places with Them Jeans’ is a similar emotional and slow track with a bit more of an acoustic sound. 

There is not too much to say about these tracks that already hasn’t been said seeing as 5/6 tracks have already been released, but this is truly the time to dive into Guapdad 4000’s discography if you haven’t already. Synthesizing elements of Bay Area music with contemporary trap, hip-hop, and R&B, Guapdad will definitely be a great artist to watch over the next few years. 

Favorite Tracks

Platinum Falcon

Dolce & Gabbana Dalai Lama

Embezzle (feat. Jigga Juice)

Rating: 7

Listen to Platinum Falcon Tape, Vol. 1 here:

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Giveon Proves He’s R&B's Next Superstar on Debut Project, TAKE TIME

By Spencer Lobdell

It’s only the first week of April, and 2020 has already been an insane ride for music fans. From the release of some of the most highly anticipated projects in recent memory (Eternal Atake, A Written Testimony, etc.), to polished records from industry heavyweights (After Hours, The Slow Rush), 2020 has given us absolutely everything—well, that is almost everything. 2020 has yet to present us with an unknown voice who explodes onto the scene. A young artist who has a different way of doing things and sounds like none of their predecessors. A rare talent that has the ability to force an entire genre to pivot directions to follow this exciting new star. A future superstar who’s innate ability is indisputable and longevity undeniable. 2020 has yet to give us a true break out moment—that is until March 27th when R&B newcomer Giveon dropped his debut project, TAKE TIME.

Originally from Long Beach, Giveon fell in love with songwriting long before he ever thought about singing seriously. In an interview with DJ Booth, he explains how he used to start by writing short stories, then once complete, turn them into songs. Take one listen to the vivid imagery and introspective narrative in any Giveon song and it’s obvious that exercises like this paid off tenfold.

At the end of February, Giveon received his first major industry cosign. Making an appearance on Drake’s one-off freebie “Chicago Freestyle” was equi-part surprising and magical as the young vocalist delivered a chilling hook that brings the song together. The video alone generated 24 million views in one month—talk about a cosign.

Three weeks ago I had the pleasure of meeting the 25-year-old artist when he came into my office space to play the then unreleased TAKE TIME for a group of us. “I had known I could sing, I just didn’t like my voice,” he told us. “I listened to Frank Ocean and Miguel, I thought that that’s how people were supposed to sound, and if you didn’t sound like them, you probably sounded weird.” Giveon carried this misconception until he had an epiphany listening to a Frank Sinatre record. “It was the very first time I heard a baritone singer,” he told us. “That was when I realized there might be an audience for my voice.” This influence is what makes Giveon so unique. The way that he effortlessly combines classic melodies, his breath-taking baritone voice, timeless song writing, and modern R&B production allows Giveon to create an entire world in his music that somehow feels familiar while simultaneously sounding like no one you’ve ever heard before.

Prior to the meeting I had heard his angelic single “HEARTBREAK ANNIVERSARY” so while I was already ecstatic to meet the young creative, I was in no way prepared for what I was about to hear.

On March 27th Giveon released his debut project, TAKE TIME. The eight song EP runs for 25-minutes and contains no features.

The project starts with a recorded voicemail from the artist’s mother, “Giveon, I don’t know if it was fireworks or gunshots but the birds is in the air.” Referring to helicopters as birds, the single sentence perfectly captures the constant essence of danger that exists in his hometown and is a perfect intro for the first track “THE BEACH.” On the track, Giveon sings about how it feels to bring a girl he likes back to Long Beach for the first time (“See, your mom told you about this side/It can get ugly/I'm just a boy from the east side/Do you love me?”). While he is clearly hesitant to expose this girl to the dangers of LBC, she tells him she’s not scared and is ready for whatever may unfold. Sonically, the track is wavy, anchored by a groovy baseline and a beautiful rhythm guitar.

The second track “WORLD WE CREATED” is graceful cut that accurately depicts the bliss that comes at the beginning of a relationship when everything seems to be perfect (“I just wanna stay in the world we created/I just wanna sink in the plans that we makin'/When I leave I'm not lookin' for a replacement for what I got”). The horns section in the back of the mix really compliments Giveon’s voice and the chorus on this thing feels so damn good.

Giveon’s euphoric relationship begins to turn sour on my personal favorite, “FAVORITE MISTAKE.” Clearly not in the same headspace as he was on “WORLD WE CREATED,” Giveon is now entertaining a women on the side and loving the lustrous affair (“Is my secret safe?/Safe with just you and me/We can't leave a trace/This is my favorite mistake”). Giveon’s staccato melody on the hook is backed by heavenly background vocals and creates an addicting effect that’ll have you constantly coming back to this track. 

On the fifth track “THIS AIN’T LOVE” Giveon is clearly fed up with his “favorite mistake” although he’s still indulging the affair. He spoils her to get what he wants but is more frequently realizing that she is far inferior to his girl at home (“Know you ain't the same/in that Saint Laurent/Help you take it off/can't get too involved”). “THIS AIN’T LOVE '' is also the first time we are exposed to Giveon’s beautiful falsetto which he flexes on both verses.

The inevitable break-up happens somewhere between the end of track five and start of track six and “HEARTBREAK ANNIVERSARY” is the verbalization of the melancholy mood that plagues Giveon for months after (“Just like the day that I met you, the day I thought forever/Said that you love me, but that'll last for never/It's cold outside like when you walked out my life/Why you walk out my life?”). The slow and simple piano chords are one of few tracks in the wide open mix shining a bright spotlight on Giveon’s gorgeous vocals really showcasing his ability to carry an entire song on the strength of his voice alone.

The album’s first single, “LIKE I WANT YOU” appears next on the tracklist. Plenty of time has elapsed since the break-up and Giveon and his ex are now on speaking terms. More than anything he wants her to come back to him, but he hides these feelings because he fears she’s already moved on (“Sometimes I wish you knew/But I disguise the truth/I say I'm happy but I'm still stuck on us”). Giveon pours his soul into this slow jam and while the message is one of pain, it’s hard not to love this song.

The project concludes with “VANISH” a reflective track where Giveon relives the time leading up to the break-up. An outwardly distraught Giveon experiences first-hand that nothing stings like regret as he stews over things that were said in the final days of the relationship (“Sayin' things I don't mean/To someone that means the world to me/You see what I mean?”). The song ends with a heartbreaking voicemail from Giveon where he tells his now ex that he’s sorry, they are going to make it work, and that he loves her.

While only seven songs (eight if you count the 45 second interlude), Giveon’s debut project TAKE TIME is phenomenal and leaves you desperate for more. He seamlessly introduces himself and showcases the versatility of his voice while simultaneously taking us on a journey that was his last relationship. Giveon’s combination of genius songwriting, technical singing ability, and an eminently unique voice make him an extremely rare talent that truly is the whole package. Thank you Giveon for creating a world that listeners can escape to in a time where that’s exactly what people need.

favorite songs

THE BEACH

FAVORITE MISTAKE

HEARTBREAK ANNIVERSARY

Rating: 9

Listen to TAKE TIME here:

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Mick Jenkins’ Flows & Attitude Take the Spotlight on His Transitional EP “The Circus”

By Owen Tait

Over the past few years, Chicago native Mick Jenkins has made a successful lane for himself in the underground hip-hop scene, fusing spacey, lo-fi instrumentals with elements of jazz and introspective lyrics. With mellow hits like “Jazz” and “Vibe” leading his repertoire since 2014, longtime fans may have been pleasantly surprised to hear the tonal switch-up he executes on his most recent EP, “The Circus,” released under Cinematic Music Group.

Across the breezy nineteen minute runtime, Jenkins takes on a slightly harder-hitting set of instrumentals, delivering countless attitude-filled bars about the current state of the rap industry (likely the inspiration for the project’s title) and the expectations people hold him to—none of which he intends on meeting. With only seven tracks, minimal hooks, and a lone feature from Atlanta duo EarthGang, Jenkins’ flows and smooth rhyme schemes truly get a chance to shine. 

The intro track, ironically titled “Same Ol,’” opens with a rusty, filtered lead that sounds rundown and sinister, much like a twisted circus after sundown. Soon after, Jenkins aims intimidating lines about his status and power at his adversaries and doubters, dropping shots such as “Couldn't hold me back if they tried, I'm six-five / Steppin' twice your stride if I marched in place.” Jenkins understands his security in his lane, and uses it as power to silence those who question his permanence. As we get closer to the hook, Jenkins sounds hungrier than ever, and his deep, growled delivery compliments the freaky instrumental extremely well.

Veteran fans get a more recognizable sound on the tracks “Carefree” and “The Light,” the latter of which features EarthGang fresh off of their successful record Mirrorland. The former sounds exactly as the title implies, with reverberated keys and atmospheric guitars laid over a super chill drum beat. However, the lyrics seem to go in a different direction. The hook sees Jenkins reminiscing on the times he actually was carefree, contrasting them with his struggles with police violence and social pressure in the verses. It makes for an interesting dynamic, even if it does revert to the sound of his earlier material.

“The Light” is an interesting track in that it seems more like an EarthGang ballad than a Mick Jenkins cut, given that the duo takes not only the hook, but also two out of the track’s three verses. Both Doctor Dot and Johnny Venus give great poetic performances on both of their respective verses, but the airy hook carries an odd rhythm that doesn’t quite stick the landing, and it comes off as clunky and awkward. Jenkins also gives a decent performance on his verse, but overall, the chorus made this track a difficult one to come back to.

Luckily, the project’s pace picks right back up with a round of three subtle bangers titled “Flaunt,” “The Fit,” and “I’m Convinced.” All three of these tracks back Jenkins’ hungry, fed-up attitude from the opener, with “I’m Convinced” and “The Fit” making a point to feature more “in-your-face” production. Even more shots are thrown, and Jenkins manages to come across sounding more angry than bitter, which is to his benefit. Furthermore, these tracks all feature immaculate flows and hooks, making them the most well-rounded songs on the project. The spoken/sung hook on “The Fit” is likely the catchiest and most charismatic on the record, with Jenkins dropping asides such as “Needed paper, I got paper, need a stapler / I got habits, I got problems, got enablers” in between his more aggressive jabs. Meanwhile, “I’m Convinced” features some of Jenkins’ best wordplay on the project, with the second verse in particular being quite striking.

The final track, titled “Different Scales,” serves less as a traditionally-structured cut and more as a closing cypher, with Jenkins exposing betrayal and people who aren’t real with him over a laid-back, nocturnal, lo-fi beat. The narrative he tells on this track is certainly loose—meaning that there isn’t necessarily a definite “story” at all—but as Jenkins bounces from one topic to another via word association, it’s just as compelling as if there was one. It’s a fitting tonal end to the record and expertly combines Jenkins’ classic sound with the more aggressive mood found throughout the rest of the EP.

All in all, “The Circus” is an interesting piece of material from Mick Jenkins, to say the least. The production is less lush than that in his previous outings, and while it is certainly an intentional push for Jenkins to sound more hostile, it’s nothing to write home about. With that said, those who come into projects primarily for the production might be turned off by the instrumentals on here; it doesn’t sound too far off from the production found on most other independent rap albums.

However, those who are looking to hear Jenkins’ technical skills and charisma on the mic will certainly have a field day here: what personality many of the beats lack, Jenkins definitely makes up for. Long time fans will love bobbing their heads to the sleek flows and unpredictable rhyme schemes Jenkins brings to the table. In addition, new fans may enjoy the more aggressive sound that Jenkins embodies and even find these tracks more accessible than his previous, jazz-fused works (proving that the more mainstream instrumentals are not entirely a bad thing). 

This means that, even though this might not be the most conceptually or sonically thrilling project of the year, it serves as a great bridge between Jenkins’ older works and whatever he has planned next. Furthermore, I think there is an argument that there is something here for everyone, and if Jenkins is able to maintain this insistent and assertive on future projects, then I look forward to hearing them.

Favorite Tracks:

Same Ol’

The Fit

I’m Convinced

Rating: 7

Listen to The Circus here:

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