Danny Brown, a man who can seemingly barely stop smiling, would just as soon be talked to dead as not. And in spite of his subject matter, Brown often presents a supple, aphoristic, not-quite-serious take on how people seem to exist; sometimes acutely and sometimes poorly, in love, on the phone, and of course, in bars. His third studio album — Brown’s 10th overall — was largely the work of the late friend and fellow rapper XXXTentacion, whose sudden death last fall sent Brown into what seems to have been a deep funk, a prolonged, deliberate retreat into himself, a kind of grief. The intimate starts are thus low-key and bearable, extending through more standard rap and grime and into some ancient rock music; their roundabout, subtle meandering seems like the beginning of a conscious decision to hear himself speak, to subject himself to this kind of gentle, not-quite-serious reexamination of the world. At times, this fittingly delectable run-around at the periphery seems like a desperate plea for speech, or for the kind of over-the-head analysis that you find both in journalism and comedy. (Call it a frustration that a proper reserve version of Black Pete had to be made.) “There are times when you get so caught up in the process of giving someone a pat on the back when they’re trying to do their job, you start telling them exactly how they should be doing it,” Brown raps over electronic static, which comes out of his phones and growls off an urban autumn. “Then, all of a sudden, you realize, ‘Wait, maybe that’s not the task at hand.’”

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If the gate insulating film is thick, and particularly, if

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