"Killer Mike" elicits a multitude of impressions such as a blunt truth-speaker, NRA supporter, activist, and MC. In “Something for the Junkies,” he embraces a more grounded persona as a worried yet empathetic nephew. Riding on an expressive musical arrangement by Don Cannon and No I.D., Killer Mike, who was previously a drug dealer, vividly recalls a sobering moment involving his aunt battling drug addiction. The lyricism is poignant as it paints her yearning for happier days.
This vivid storytelling is a highlight of "Michael," a new album that delves into Killer Mike's identity and beliefs. With No I.D. as the executive producer, the album is an assorted, heartfelt blend of magnificent soul music and penetrating lyricism. Here, Killer Mike examines both grief and affection with candid honesty and rich detail that feels like it’s retrieved from deep within his memory. As he has expressed in various interviews, in this album, he is not Killer Mike, but Michael Render, reflecting a person that transcends any label.
“Michael” is approximately 54 minutes long and is a compact yet rich amalgamation of musings and sonorities, with a sound that is evocative of Black churches in the South, replete with instruments and gospel choirs. The heavy influence of such soundscapes is intentional as Mike deliberately integrates the music of his upbringing as a tribute to his culture. The album commences with contributions from Dungeon Family’s Rico Wade and Cee-Lo Green, and continues with Killer Mike weaving in profound symbolism and motivating lines with a Curtis Mayfield sample.
Although Killer Mike mainly concentrates on himself, he does so from different vantage points, including examining past trauma. In “Something for the Junkies,” he delves into the world of drug dealing and consumption with compassionate insight. In “Slummer,” he shares his experience of coping with his partner’s abortion, which is a perspective that is seldom explored by men.
The album's production is primarily consistent in style, but includes some unexpected elements that add dynamism. In “Scientists & Engineers,” there’s an intriguing fusion of ethereal vocals by Eryn Allen Kane with otherworldly sounds, capped by a quirky verse from André 3000. This track, combined with Future’s luxurious trap sound, exemplifies a cross-generational collaboration with a natural synergy between the artists.
However, the album is not without its flaws. The extensive use of gospel choirs and church organs throughout can sometimes feel overdone, reducing their impact. Collaborations with emerging artists like Blxst and Kaash Paige bring a youthful exuberance, but apart from Mozzy, they sometimes seem like mere additions to the tracks. In “Run,” Young Thug's contribution feels disconnected and perfunctory.
Despite its imperfections, “Michael” is a cohesive and reflective piece, more introspective than any of Killer Mike’s earlier works including his Run The Jewels releases and his first album. It’s fueled by a level of honesty that transcends the common perceptions attached to him. In a career spanning over two decades, “Michael” portrays Mike in his truest and most relatable form.
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