Childish Gambino - Camp (Glassnote)
Childish Gambino isn’t an easy artist to peg. If you called Donald Glover “an actor turned rapper,” you would be completely off. This new full-length is preceded by six releases that span back to 2008. If you were assuming this would be another attempt at a comedy/hip-hop hybrid akin to Lonely Island, that wouldn’t be entirely correct either. Gambino is a proficient alter ego to Glover’s comedic personality, as seen on the sitcom Community as well as in the underappreciated film Mystery Team. Camp is a convincing and heartfelt effort, and coming from someone as unassuming as Glover, it may not receive the appreciation it immediately deserves.
When listening to Camp, I find myself considering a few of the tracks on the self-titled EP that preceded this release. On that EP, Glover was setting the foundation for this project by outdoing any immediate criticisms he could be hit with. He presented songs with honesty, while still bouncing into a bit of lyrical wordplay that would make most listeners laugh to themselves. I don’t think I’m alone in being surprised and amused at the way Glover spouts off E.E. Cummings' name in "Freaks And Geeks." His honesty and precision is best witnessed in that track, as well as “Be Alone” and “Lights Turned On,” where proclamations of the desire to shed one’s loneliness or self-consciousness for a moment prove to be strong fodder for hip hop. Now, though, on Camp, he's gone beyond a mere statement of purpose, and taken his music to the next level.
There are two roles with fairly particular characteristics that Glover plays throughout Camp. There is the charismatic, wisecracking MC with never-ending ego, who will make a crowd shout in surprise as it connects with every line. This persona shows up in “Bonfire,” in which he makes mentions of Casey Anthony, the trend of celebrities that turn to music for more fame, The Human Centipede, and even the way he seems to have bucked the trend of introverts not showing signs of life on the dance floor. In regards to actors having a tendency to go into music, the most declarative statement throughout the entire track is “why does every black actor gotta rap some?/I don’t know, all I know is that I’m the best one.” This confidence level rarely drops over the course of the record. “Backpackers” is a direct response to detractors who question Glover’s ability to be relevant in the independent music world. “You See Me” is a bit more of a juvenile take on Glover’s penchant for Asian women, yet there are several instances where his fluid rhyme patterns are unbelievable and impressive to say the least. This side of Glover’s Gambino is intriguing. But it’s the other side that will leave the lasting impact.
This other side allows Glover to provide a bit more personal insight. One issue that presents itself throughout Camp is the level of doubt that has been directed at him regarding how true he is to his cultural background. This goes as far as peers labeling him as not real enough for being raised middle-class and having a somewhat stable familial background. Discussion of this issue is prevalent throughout “Hold You Down,” as well as the opening track, “Outside.” Glover has a bit to say as well about the evolving perspective the world has of him due to his recent popularity. Women that wouldn’t normally talk to him are now paying attention, he tells us. Guys that would typically question his intentions, as well as berate him with frequent insults, are now attempting to befriend him and make everything seem like it was good all along. This thought moves back and forth between both personas, but it is at its most effective when he immediately detects the falsehood of this new attraction and camaraderie. “Firefly” considers how these entourages have changed with his rising success, and the doubt most of these communities share in regards to his creative achievements.
One thing that struck me about the division between both personas were the instances when Glover considers his relationship woes. When the charismatic side comes through, he is more likely to tell off a former flame and make a quip to finalize the conversation. “Heartbeat” allows a sensitive side to appear as he explains how he wants to hurt this person, but there is a genuine side of Glover that recalls this experience with fond eyes. He protects himself with clever quips, but at the same time, it’s beyond him to understand how someone he let get so close to him could cause him to endure such pain.
The production and instrumentation on Camp is deserving of several accolades. On “Firefly,” “Bonfire,” and “All The Shine,” orchestral instruments are right at home alongside the electronic break beats looped in the foreground. Several cues are taken from the last Kanye West records, but that is understandable. Glover's Childish Gambino is an incarnation that is inspired by his musical and pop cultural surroundings. When it counts, the group supporting Glover take to the opportunity and develop confident, clever beats that compliment his witty lyricism. Camp isn't a perfect record, but what it really accomplishes is a way to showcase Glover as more than just a comedian who thought to take on hip hop as a fun, little project. This is a serious project with multiple strengths that are worthy of any music fan’s attention.