Jack Harlow, “Jackman.”

The third studio album by Kentucky rapper Jack Harlow came as a surprise to fans, and not only for its sudden release. Much can be gleaned from the stark album cover as to the lyrical direction by the 25-year old. It’s compact, intimate and to-the-point, clocking in at 24 minutes and change. It’s also the complete opposite of Harlow’s sophomore record, Come Home the Kids Miss You. There are no features, big pop hooks or commercial radio beats.

The opener, “Common Ground,” has Harlow taking on those he sees a frauds, whether writers or fans, who don’t understand the genre.

“Condescending suburban kids growing up to be rap journalists/ Writing urban myths about who they think is the best urban kid,” Harlow spits.

He then turns the spotlight inward on “They Don’t Love It,” where, over a choppy beat and squelchy synths, he tackles the pressure of expectations with his music and the clash of self-confidence and self-doubt.

“Ya boy’s strivin’ to be the most dominant ever/ The hardest white boy since the one who rapped about vomit and sweaters.” Harlow raps, referencing a certain Detroit rapper.

Later in the album, he again considers the reasons for his own success on “It Can’t Be,” sarcastically quipping that he’s only found fame because of the color of his skin. In the meantime, Harlow lists off a laundry list of other reasons he believes led him to success.

Structurally, Jackman. feels more like a lengthy EP or a mixtape, with many tracks consisting of one long verse with Jack Harlow making his point in two-minute increments. Cutting out the fluff keeps things interesting. There’s quite a bit of meat to the album. On “Ambitious,” which begins with harp strumming and then takes on a Motown vibe with strings, he takes on a narrative tone, offering up observations from different ages as he rose to fame. Harlow laments the age where he was gaining momentum, but still “playing 1 p.m. festival sets,” on his way to the top. Will his blunt intimacy change the hearts and minds of detractors? Probably not, but it’s a worthy effort.

On the flip side, Harlow asks if he can maintain the simplicities of a time before fame even as his star continues to rise on “Is That Ight,” over up-pitched background vocals and distorted piano.

“Gang Gang Gang” verges into uncomfortable territory, with Harlow rapping about friends from his past who’ve gone astray, facing a bevy of serious charges. One is accused of rape, another molestation, Harlow reconciles his memory of growing up collecting Pokemon cards with these people to the disbelief of finding out what they’ve become. The woozy melody mimics Harlow losing his balance when learning about his past friends’ fates. He closes out the track vowing accountability and cutting those people out of his life.

Harlow contemplates over-saturation and his own fame on the acoustic-guitar-led “Denver,” rapping about his “TODAY Show” appearances and the over-use of his phone. While the melody is slow, the pace is quick thanks to continuous hi-hat strikes. In the second verse, written after a trip home, he once again has clear eyes and a renewed focus on his goals. “No Enhancers” is a love song about Harlow’s love for his girl just the way she is.

Musically, “Blame On Me” is the closest to material you’d find on Come Home the Kids Miss You. At four minutes it’s the longest track here.

On closer “Questions,” he considers what would happen if his success were to evaporate, and uses that as his motivation to continue pressing forward.

Follow writer Mike DeWald at Twitter.com/mike_dewald.