Killer Mike is a Hip Hop artist that I have always felt deserves a lot more credit from the general public. I do not know if there is anyone who warrants the title of “your favorite rapper’s favorite rapper” like Killer Mike does. He is an artist who has always been loved and respected by his peers and has gotten his flowers from so many people in his industry but unfortunately has never reached the pinnacle of the Hip Hop game in the eyes of listeners in the way that he should have. Killer Mike is a true veteran of the game who has been making music for over 20 years. He got his start as a feature on Outkast’s Stankonia album in 2000 and has steadily been building himself as a force in the underground rap game since. From 2000-2012 Killer Mike released five albums, all of which were praised by critics but never saw the kind of commercial success they deserved. In 2013, Killer Mike formed the rap group Run The Jewels with underground producer and rapper El-P, and this really changed his career and helped him reach levels of success he had never reached previously. They released their first self-titled record in the summer of 2013 and released Run The Jewels 2, Run The Jewels 3, and RTJ4 in 2014, 2016, and 2020 respectively. All of these albums received widespread acclaim, with RTJ4 being considered one of the best albums of 2020 and one of the best Hip Hop albums of the last three years(I personally very positively reviewed and highly rated RTJ4 when it came out a couple of years ago on this blog so check that one out if you haven’t). After a long hiatus of over 20 years, Killer Mike has finally returned with his newest solo album, MICHAEL. Here is how I feel about that record. Please let me know in the comments below what your favorite songs are from MICHAEL and comment on how you feel about the record as a whole.
Killer Mike gets the record started on a funky and grand note in the song ‘DOWN BY LAW’ featuring Cee Lo Green. This song has a complex, luxurious sound driven by a Southern Funk bass guitar riff. The melody is added to by a plethora of factors, such as other instruments, many synths, and some female vocals that are sometimes layered like a choir. The beat for this song is very intense, with the buzzing bass drums reverberating in a way that gives the song so much energy. Killer Mike raps with a level of force and energy that matches the instrumental and adds to the extremely lively nature of the song. CeeLo Green comes in at the end of the track with his soft and sweet vocals, closing out the song on a soulful note. On ‘DOWN BY LAW,’ Killer Mike is rapping for the underground, telling his peers that they can reach the level of success that they want if they grind for it. ‘SHED TEARS,’ which features Mozzy, has an old-school Southern Hip Hop sound that reminds me a lot of music from artists like Big K.R.I.T. or Curren$y. The song has a sound that fuses Southern Gospel music with old-school Funk in a way that is so seamless; the way that these sounds are put together gives the song a severe and emotional feeling. The melody is driven by the strong vocals of a choir and a complex piano melody that is put over a super groovy guitar riff. The drums on this track almost have a military feeling to them; they sort of sound like the drum beat you would hear on the battlefield in an old war movie. I enjoy the way Mozzy and Killer Mike’s vocals contrast each other on this track. Killer Mike raps with a high register that has a lot of power, and Mozzy raps in a calm and lowkey way that brings the song back to earth. On ‘SHED TEARS,’ Killer Mike and Mozzy are rapping about the struggle of growing up as a black man in the hood in America and how they can make it out if they work hard enough and do not give up. ‘RUN,’ which features Young Thug, is a song that put a lot of focus on this upcoming record when it came out. For one, most people would not expect Killer Mike to make music with Young Thug; secondly, considering how Young Thug is currently incarcerated, any piece of music he contributes to right now is going to receive a ton of attention. This song has a retro Trap sound that brings me back to the late 2000s. It reminds me of the Trap music being made by T.I. and Jeezy when the sub-genre first gained popularity about 15 minutes ago. The melody, which is fairly simple, is driven by a funky keyboard riff with a bunch of synths complementing it as well as some Gospel-style vocals to give the melody depth. The song has a harsh, boisterous beat driven by a buzzing bass line that is similar to the one on the first track of the record. Killer Mike’s delivery on this track is not nearly as vigorous and aggressive as it was in the first two songs; this more subdued delivery fits the song well, as it does not overpower the calmer nature that the instrumental has or the light, easy-going vocals delivered by Young Thug. On ‘RUN,’ Killer Mike and Young Thug are rapping about staying on your grind and trying to be successful no matter how bleak things may seem.
‘NRICH,’ which features 6LACK and Eryk Allen Kane, is a song that really slows and quells things down and brings the feeling of the record back to the 90s for a song. This song has an instrumental that sounds like it came right off the kind of underground late 1990s mixtape that Killer Mike got his career started with. This song is driven by a rambunctious, nostalgic-sounding beat and a heavy, funky piano melody that is added to by the rich and luscious vocals of Eryk Allen Kane. As he did on ‘RUN,’ Killer Mike raps with a lighter, even-keeled tone that goes well with the instrumental. I really enjoy 6LACK’S vocals on this track as they give the song depth and provide contrast to the deep tone that Killer Mike raps with. On ‘NRICH,’ Killer Mike, 6LACK, and Eryk Allen Kane are talking about how tough it can be to accumulate wealth as a person of color in America. ‘TALK’N THAT SHIT,’ which is the only song on the record that does not have a feature, brings the sound of the record right back to the present. This song has a very modern Trap sound that sticks out in a major way when compared to the album’s first four songs. The song is divided into two halves, with both halves being harsh and bold in their own way. The first half makes me think of the harsh and scary Trap music one would expect to hear from Lil Durk or Pooh Sheisty. The melody is driven by dark and foreboding synths that are highly muffled and distorted. The beat in this section of the song is fast and brash; it matches the aggression of the melody. Although the instrumental in the second half of the song is a lot slower, it is still equally as bold. This section of the track does not really have a melody; instead, the song is driven by weird whistles that have a very menacing element to them. ‘TALK’N THAT SHIT’ has the best rap performance from Killer Mike on the album to this point. On this track, he is constantly switching his tone and his flow; he shows off his dedication to this craft through his technical abilities as a rapper. On ‘TALK’N THAT SHIT,’ Killer Mike is rapping about how he knows that he is great and why his haters are beneath him. Killer Mike brings back the Southern Gospel feeling we got earlier in the record on the song ‘SLUMMER,’ which features 90s R&B group Jagged Edge. The influence on Jagged Edge on this track is major, as everything about this track reminds me of 90s R&B. The song has a warm and pleasant R&B melody which is driven by a choir and complemented by heavenly synths, and the beat has a classic R&B feeling to it as well. Killer Mike’s rap performance on this song is nice, but the real stand-out performers are Jagged Edge. Their vocals on this track are so cozy and sweet and they give the song such an all-encompassing feeling. On ‘SLUMMER,’ Killer Mike and Jagged Edge are reminiscing on a relationship they remember fondly. If ‘SLUMMER’ has a retro R&B feeling to it, ‘SCIENTISTS & ENGINEERS,’ which features Future, Andre 3000, and Eryk Allen Kane, has a very modern R&B Trap sound. This song has the most interesting and complex sound on the record so far. It keeps the warm and sweet choir-driven R&B sound the last song had and transports it into another dimension. The melody is mainly driven by the voices of the choir and the vocals of Eryk Allen Kane, but it is added to by all sorts of otherworldly-sounding synths that make the song sound so ethereal and atmospheric. I have to say, I was impressed by Killer Mike’s rapping on this track; the way he fluctuates his flow throughout the song fits the uncanny sound of the instrumental. Andre 3000 is absolutely in his bag on this one; through his wordplay and his melodically rapping, he demonstrates why so many people consider him to be one of the greatest ever. Unsurprisingly, Future sounds so natural on this track; he floats over this instrumental in a way that only he can. On ‘SCIENTISTS & ENGINEERS,’ Killer Mike, Andre, and Future are rapping about how they know how great they are and how when you make it to their level of success you realize it is not necessarily make one feel as great as they would expect it to.
‘TWO DAYS’ which features Ty Dolla $ign, brings is a harder Funk-Rock Trap sound that we have not heard on the record yet. The song is driven by a groovy guitar riff that has so much grit; it reminds me of the kind of riff one would expect to hear on a song by artists like Sly And The Family Stone or Funkadelic. This guitar riff is added to by a delightful keyboard riff and the layered background vocals of Ty Dolla $ign. Killer Mike’s performance on this song is solid, but Ty Dolla $ign is the one who drives the song. His raspy voice fits this instrumental so well and adds to the fun attitude that the melody has. On ‘TWO DAYS,’ Killer Mike and Ty Dolla $ign are talking about how theY perform better when they think their back are against the wall and when they think everyone is out to get them because they enjoy the pressure. ‘SPACESHIP VIEWS,’ which features 2 Chainz, Curren$y, and Kaash Paige, is another song with a very modern R&B Gospel Trap sound(it is ironic that Curren$y is on this track considering I compared an earlier song to his older music that sounds nothing like this). This song is driven by a melody provided by a bright and welcoming keyboard riff that has various synth sounds and the layered vocals of Kaash Paige complementing it. The beat on this song has a chopped-and-screwed sort of Trap sound that makes the song have a sound that is perfect for lighting up a joint on a hot summer night while hanging with some friends. ‘SPACESHIP VIEWS’ is another song where the features outperform Killer Mike in my opinion. Killer Mike has a solid performance on this track, but both Curren$y and 2 Chainz rise above him and give the song so much life and energy with their verses. On ‘SPACESHIP VIEWS,’ Killer Mike and crew and talking about getting high and forgetting about your problems for a while. ‘EXIT 9,’ which features Blxst, is a song with a modern R&B Trap that has elements that make me think of 90s Neo-R&B. The beat has a slow and calm R&B Trap sound that feels like something that would be in a Don Toliver track; the melody, which is driven by a cozy guitar riff and complemented by synths and Blxst’s vocals, has a soulful tone that makes me think of artists like Erykah Badu or TLC. Like the last two tracks, Killer Mike has a solid rap performance on this track, but his feature is the one that truly shines. I did not know how Blxst would sound on this track considering I have mostly heard him on Emo-Trap music in the past, and I have to say that he excels on ‘EXIT 9.’ His rich and hearty vocals fit the warmth of the melody so well and make the song feel so welcoming. On ‘EXIT 9,’ Killer Mike and Blxst are talking about how they appreciate where they are because they came from the bottom. ‘SOMETHING FOR JUNKIES,’ which features Fabo, is one of the most relaxed and least complex-sounding songs on the record. This song is driven by a light and snug funky guitar riff that is complemented by a funky keyboard riff and the vocals of a children’s choir and Fabo. This song has such an easy-going and affable sound; similar to ‘SPACESHIP VIEWS,’ it has a sound that makes me want to smoke while watching the sunset with friends on a summer evening. Killer Mike’s delivery of this song is pretty passive and laid-back; it does not stand out, but it fits the energy that the instrumental has nicely. Fabo’s performance on this track does not stick out the way I would have wanted it to. He does not sing in the eccentric way that one might expect from him(until the very end when he does some higher-pitched runs), and his contribution to the track is not prominent. On ‘SOMETHING FOR JUNKIES,’ Fabo and Killer Mike are rapping about how you should treat habitual drug users because they are people too and are usually going through a lot of pain and turmoil inside.
‘MOTHERLESS,’ which features Eryk Allen Kane once again, keeps the laid-back Trap feeling that the last song had. This is another track that feels heavily inspired by 90s R&B and Soul music. I could see artists like Jill Scott or Erykah Badu thriving on the dainty keyboard-driven melody that this song has(which is complemented by the vocals of Eryk Allen Kane). Even though Killer Mike’s vocal delivery is not as intense or aggressive as it has been at some points earlier in the record, his delivery is still very grave and poignant. He raps with a level of emphasis that really drives home the melancholy energy of the track. Because of how impactful this rap performance is to me, ‘MOTHERLESS’ is easily a top song from this record in my opinion. On ‘MOTHERLESS,’ Killer Mike is rapping about how much he misses and loves his mom and Grandma. ‘DON’T LET THE DEVIL,’ which features El-P and thankugoodsir, has quickly become a fan-favorite from this record. It is easy to see why this song has become popular, as it has an interesting sound that is distinctive from the other music on this record and from the Hip Hop music that is popular today in general. This song has a song that reminds me so much of the early 2000s Chipmunk Soul music that Kanye made popular. In fact, if someone were to tell me that Kanye had produced this track, I would not be surprised. This instrumental is so complex and cool. From the way the sample is arranged and the record scratching on this track, the instrumental has such a cool and interesting sound. Killer Mike and El-P are both in their bag on this track. Their chemistry is so palpable, and they bounce off of each other in a way that only they know how. On ‘DON’T LET THE DEVIL,’ Killer Mike and El-P are braggadocious and assert that they know how great they are. Killer Mike closes out this record with the song ‘HIGH AND HOLY,’ which features Ty Dolla $ign for a second time. This is a melancholy and looming way to end the record. The song is driven by a soulful melody provided by multiple keyboard riffs, synths, a choir’s vocals, and Ty Dolla $ign’s vocals; this complex melody is put over a slow and dejected-sounding Trap beat. Somehow, this song sounds gloomy and hopeful at the same time. The song definitely has an energy that is desolate, but there is something about it that is also bright and optimistic. Similar to the other song with Ty Dolla $ign on this record, Killer Mike is outshined by his feature. Killer Mike’s rap performance is pretty impactful and does go well with the sound of the instrumental, but Ty Dolla $ign’s husky, powerful vocals give the song so much power(these performances from Ty Dolla $ign on this record are making me want to look into any new solo music he has, as I have not done that for a while). On ‘HIGH AND HOLY,’ Killer Mike and Ty Dolla $ign are paying respect to the people in their life and from their communities that have died. ‘HIGH AND HOLY’ is a powerful way to way to record, and I appreciate the energy and sentiment that this track has as a closer.
To be honest, I do not completely know how I feel about Killer Mike’s MICHAEL as a whole. On the one hand, this album is full of diverse and interesting instrumentals that flow together well with a funky Gospel and Soul theme; also, the album has a plethora of excellent features that add to the quality of the record so much. In fact, the features on this record are so good that sometimes the features actually outshine Killer Mike himself(which is not easy to do). Killer Mike gets very introspective with his lyrics on this record and lets listeners into his mind and learn about his personal life in a way he has not done before. On the other hand, this record is not as punchy or captivating as some of his past releases have been. I do not know if it is the lack of political lyricism, the lack of enormous and fierce vocal performances one might expect from him, or the lack of harsh and brash instrumentals, but there is something about this record that underwhelms me a bit. With that being said, MICHAEL shows that Killer Mike has not lost a step as far as his rap skills go and that he definitely deserves more credit as one of the most interesting rappers alive. MICHAEL is a cool record with a lot of quality, and it proves that Killer Mike is still an important and rousing figure in the rap game.
EAST SIDE VIBES 