So, is it Killer or Bigga? Glancing at the cover art for PL3DGE, it’s apparent Killer Mike gave up converting to a more widely appealing name, and in a way, it spoke well of the album before ever spinning it: the fan reaction to the Atlanta MC dropping his longtime moniker was unanimously displeased, and the rapper stuck to his base, one naturally hoped he’d do the same in regards to the music. Let’s kill the anticipation and calm the nerves: anyone who dug the first two installments in the Pledge series are sure to be pleased again, just don’t expect the same product. Killer Mike has essentially been doing the same thing since he appeared on Stankonia a decade ago: emulating Ice Cube. To this day, the rapper is appreciated for this very reason: a viable, angry political voice from the Dirty Dirty, where most favor style and pomp.
Yet, as part of Grand Hustle, Mike gets plenty of just that to go around, with Young Jeezy making the most out of a cameo and label boss T.I. dropping in for single charting purposes on a flawless No I.D. production. It doesn’t much matter – anyone popping in on a Killer Mike album is only momentary within the scope of his angered vision. This is where Underground Atlanta faulted, over supporting the independent MC, limiting his scope; with only a handful of guests this time around – Gucci Mane aside, none questionable – Killer Mike isn’t making the same misstep.
However, that doesn’t mean this is a true spiritual successor to Pledge Allegiance to the Grind II, either. Whether it was label pressure, T.I.’s influence, or simply Mike wanting to expand, this isn’t nearly the raging reservoir that represents the material that gained the rapper a reputation in the first place. Some moments recall Mike’s origins, but the most prominent of these is a sequel, “That’s Life II,” momentarily recalling the rapper’s most volatile material. If anything, despite his previous album’s theme, this is the most Southern record that Mike has produced, chock-full of bombast and swagger. Some of this allows for healthy experimentation, such as the sublime, Flying Lotus-crafted “Swimming” and the afore mentioned I.D. cut, “Ready Set Go,” both among the best tracks rap’s had to offer this year. Unfortunately, this attitude does not persist, with Mike commonly preferring the typical: “Player’s Lullaby” doesn’t mark his first sensual anthem, but it’s perhaps the closest he’s come to run-of-the-mill. With tracks such as “Everything (Hold You Down)” also expressing just how great Mike is as a “real man” for the ladies, along with the likes of “Follow Your Dreams,” this is certainly a strange Killer record. It’s almost unfair to call it commercial; it’s doubtful Mike was imagining big numbers, so once again, ordinary simply seems the best description.
On the outro to “Dreams,” Mike declares, “I want this to be more than good music to ya, I hope it’s inspiration for ya.” Perhaps he simply genuinely wanted to reach a wider audience on a more immediate level. Regardless, the result is the same. This is a well made record, boasting some particularly smooth production, but as much as Killer Mike may continue causing controversy in interviews, this is the safest he’s ever played it on the mic. The results are far from disappointing, but in the shadow of Mike’s own work, cannot help but feel somewhat inconsequential. It’s a tad ironic – Killer Mike seems a little lost in the system he typically bemoans, but despite everything, it’s a testament to his talent that it all came out as good as it did. Simply as an album, this is good stuff, and nothing can take away from that, it’s only hard to forget how much more the man who brought it to you is capable of.
