Mick Jenkins’ 1967 Ford Mustang doesn’t radiate colors off of its usually glossy exterior. The 28- year-old Chicago rapper, whose music submerges itself in the political and social subconscious, approximates that he’s put $22,000 into pimping his trip.
You ‘d think by this love that Jenkins’s music would focus around his achievements, however that’s not quite the story. Given that his 2012 launching job, The Mickstape, Jenkins’s raps have explored his perspective of society through an evolving mind and through the lens of his Christian faith.
For Jenkins’s newest job, The Circus, though, his vehicle is at the center of its grand phenomenon. While his previous project, Pieces of a Guy, went inwards to squint at his id, The Circus casts himself aside (or rather, puts him inside his ride for a nighttime visit to a park) and rather concentrates on the world at large, in all its frequent ugliness. “It has to do with society,” he says. “We’re all carrying out for peanuts and being asked to do incredible things for individuals. We’re being robbed of particular humanities and our uniqueness is being made use of.”
The LP’s 7 songs come together to paint a picture of society that Jenkins is complicit in: one that shows how we’re all acting out for the audience of smartphone cameras that record and chronicle our every relocation. The Circus treks through the sensations and experiences of processing that kind of surveillance. On opener “Very same Ol,” Jenkins laughs at how absolutely nothing ever alters. “Game do not change, you understand this, shit do not stop,” he raps on the chorus, following it a line as certain as death and taxes. “Money gon na come, cash gon na go, someone capturing it if it drops.”
” Carefree,” meanwhile, is a foreboding story about a cops confrontation that finds Jenkins carrying out for an audience at the beach, “off the drugs” and “off the drinks” as he spits. The very first verse sets a breezy mood underneath the stars. “Shawty never smoked kush like this, some fire-ass music playing, grinding on me/ You know I had to press right back, reflex, regard,” he raps, recalling the good times.
After the chorus, Jenkins’s heart leaps into his throat when the police come to mess up the group’s enjoyable. The song ends with Jenkins getting a ticket for his windows being too dark, which he based totally in reality.
On The Circus, Jenkins doesn’t need to play alone. The task’s only feature comes thanks to Earthgang, the diverse rap duo signed to Dreamville Records that Jenkins has ended up being close with. “They are so fire, and I have actually been working with them for a while,” he says about their cooperation, “The Light.” It’s the sole soul area on the EP, which Jenkins says belongs to ” a lots of emotional things that I have actually been dealing with; it’s just not on here.” Earthgang’s existence is personal for him. “They showed me a lot of love before they knew who I really was,” he states. “We made a couple of records at that time. I’m very thrilled to continue dealing with them.”
Wedged strongly in the center of the EP is “Flaunt,” on which Jenkins’s usually socially mindful music turns towards shit-talking. It’s him acting for the audience, chuckling as he displays the fruits of his labor. He may sound like he doesn’t desire to do it, Jenkins is flexing. “I like to humblebrag,” he says about the song. “I have actually got a couple of things that cost a number of bucks.” In addition to his Mustang, his preferred product possessions he’s acquired in the last couple of years are his brand-new Mamiya RB67 SLR video camera and original art work that he’s purchased from artists that he’s “connected to.”
It doesn’t matter what he buys, though; he’s still in the center of The Circus, a project about the methods we placed on for each other, told through tunes including putting on for listeners, for friends, and for Jenkins himself. There’s a lot to unpack, as its orange and maroon cover art exposes; on it, an animation variation of Jenkins juggles on top of an elephant inside a ring of fire. For those who desire the remainder of the story– Jenkins calls The Circus “a direct prequel” to his next album– they’ll need to parse the art work for information ” Whatever you require to know, it’s alluded to on the cover.” Prior to he can elaborate, he ends the call with a bow, indicating completion of the program. For now.
- Mick Jenkins