Best Foot Forward: A Sneaker Series (Part 14)

Fall is finally upon us, which means that the Earth tones, boots, and Fall aesthetics from my wardrobe are finally in full swing again. This year has been packed full of exciting sneaker releases, collaborations, and high-end designer sales, some of which I’ve been lucky enough to get my hands on. Fortunately, I am once again able to write another installment of my favorite series here on this blog with part 14 of Best Foot Forward: A Sneaker Series.

Pair 1 (Upper Left): Saint Laurent Paris Wyatt in Brown Suede

The Saint Laurent Paris Wyatt has cemented itself as one of the most recognizable and iconic silhouettes in all of high-end menswear. Its signature heel and cowboy-like strap take this pair’s playfulness to the next level in the brown suede colorway, as opposed to my black leather pair’s elegance and presence. SLP’s craftsmanship is top-notch, and after many wears, the Wyatt’s sole is still holding up strongly. I was lucky to grab a pair from SSENSE on an over 50% off sale, which is essential given this boot’s retail price. Even though I will be wearing these year-round, and their deep brown color and buttery suede were built for the Autumn season.

Pair 2 (Lower Left): Air Jordan 1 High Retro ‘85 “Neutral Gray”

The Air Jordan 1 High is easily my favorite sneaker of all time. The “Neutral Gray” colorway, after its initial release in 1985, was brought back for the first time in 36 years this year and came fully adorned with the original detailings that made the first pair so special. A slightly higher-than-usual heel cut, a soft suede swoosh, and an ever-so-slightly blue tint to the sneaker’s tongue are impressive details that complement this shoe’s simple and clean design.

Pair 3 (Upper Right): Air Jordan 3 Retro X A Ma Maniére “Raised By Women”

Of all the sneakers I’ve added to my collection in recent years, the Air Jordan 3 Retro X A Ma Maniére “Raised By Women” is one of my favorites. Jordan Brand’s collaboration with Atlanta streetwear staple A Ma Maniére brings out the best from the Air Jordan 3. Thick suede elegantly replaces the iconic elephant print found on most threes, while aged and vintage-looking color tones add to this sneaker’s vibe. An homage to the women that raised him, this shoe is a powerful statement from its designer. This is easily the sneaker of the year.

Pair 4 (Lower Right): New Balance 550 X Aimé Leon Dore “Evergreen”

Speaking of collaborations, New Balance recently teamed back up with New York streetwear brand Aimé Leon Dore for the re-release of the 550. This vintage basketball silhouette checks all of the boxes for what makes sneakers popular in 2021: It is slightly chunky, features various materials, and features neutral colors that go with everything. I picked up the green pair, but wouldn’t be against also adding the gray ones eventually, as well. The cream lace swap just puts these over the top.

Although I’ve been writing a lot about music on this page recently, sneakers are still my favorite hobby and interest. I’m lucky to rock many of my dream shoes and pick up a lot of the best releases in any given month, and this year has been especially rewarding in that sense. What’s your favorite pair featured here?

Album Review: Friends That Break Your Heart - James Blake

Two years after the release of his critically-acclaimed album Assume Form, James Blake has returned with his highly-anticipated album Friends That Break Your Heart. Blake’s 2019 project was a vessel used to experiment with his sound, vocals, and aesthetic, working with collaborators such as Travis Scott and Andre 3000 to create an understated hip-hop spin on his usual style. Friends That Break Your Heart follows in the footsteps that Assume Form planted, allowing Blake to further refine his delivery with sharpened production, sophisticated instrumentation, and more compelling subject matter than ever before.

Blake, whose previous project centered mainly around self-reflection and introspection, decides to discuss and examine relationships with those closest to him on this project. The complex, lasting effects that the people in Blake’s life have had on him are evident and all too relatable in his lyricism. “Life Is Not The Same” is the first of many heart-wrenching lamentations of connections lost, with a disorienting and swirling trap instrumental that offers the listener no solace from Blake’s heartfelt delivery.

There are few collaborators on this project, but those who are featured alongside Blake are done so effectively and memorably. “Coming Back (feat. SZA)” uses SZA’z vocal abilities seamlessly, and the low-key banger evolves into its second half, featuring echoey and haunting vocals from both artists. After the lonesome and depressing “Funeral”, Blake utilizes Atlanta rappers JID and SwaVay on “Frozen”, one of the most immediately memorable tracks on the project. A unique beat paves the way for hard-hitting bass and well-written verses from the featured rappers here. This song also uses vocal manipulation, which sometimes bothers me, but that instead works very well here.

“I’m So Blessed You’re Mine” is a bit of a Frankenstein’s monster of a track, never fully realizing its identity and instead continually morphing from genre to genre. This experimentation isn’t to the song’s detriment, though; instead, it demonstrates Blake’s continued willingness to experiment, leave his comfort zone, and adapt to new styles. The following “Foot Forward” features production from the legendary Metro Boomin’, whose esoteric and bouncy beat is addictive as usual — this is one of Blake’s smoothest tracks yet.

“Show Me” is a beautiful, heartbreaking duet featuring contributions from artist Monica Martin, whose vocals complement Blake’s dazzlingly. The track discusses observing growth from previous partners, which is an incredibly mature and bittersweet topic that indicates Blake’s growth. “Say What You Will” is one of the most touching and sonically wonderous tracks on the project, as Blake reflects on the self-love he’s cultivated despite the negativity he’s been shown throughout his life from others. Again, it can’t be emphasized enough how spectacular Blake’s vocal performances are throughout this project, and this ballad is no exception.

“Lost Angel Nights” contemplates missed opportunities and trying to endlessly reinvent oneself to remain relevant, especially in such an unforgiving and forgetting industry. These contemplative themes flow naturally into the penultimate title track which really is revolutionary, subverting the typical topic of romantic relationships failing, and instead discussing the tragedy of long-term platonic relationships coming to meet ill fates. This track’s acoustic backing and solemn vocal delivery are truly haunting and tear-jerking to the point that I just want to give Blake a hug. Blake continues his tradition of closing with understated tracks with the final moment “If I’m Insecure”, a beautiful contemplation of love in the middle of all-encompassing misery, something he likens to where we are after recent events, closing the album on a very high note.

The complexity, material richness, and memorability of this album’s back half are some of Blake’s best work yet. As he continues to grow as an artist and as a person, the depictions of the ethereal and relatable reflections he partakes in continue to mature as well, leading to truly cathartic and repeatable listening experiences. Beautiful from beginning to end with only small bumps along the way, Friends That Break Your Heart is exactly what I had hoped for from James Blake, and I highly suggest you give it a listen.

Favorite tracks: “Famous Last Words”, “Coming Back (feat. SZA)”, “Frozen (feat. JID and SwaVay)”, “Foot Forward”, “Show Me (feat. Monica Martin)”, “Say What You Will”, “Friends That Break Your Heart”, “If I’m Insecure”

SCORE: 7/10

Album Review: Sometimes I Might Be Introvert - Little Simz

I was made aware of Little Simz after the release of her 2019 album Grey Area. The London native rapper established her dominance and lyrical stature with track after track packed full of aggressive, hard-hitting bars over refined beats. Only a few minor tweaks away from being perfect, Grey Area was a fantastic introduction to Little Simz’ sound and style. Her most recent album, Sometimes I Might Be Introvert, is in many ways diametrically opposed to the aesthetic of Grey Area, this time employing rich instrumentation and introspective lyricism with almost twice as long of a runtime. All of these changes, however, allow Simbi to explore new genres and prove just her versatile and talented she really is. With apparently only a single sample on the entire project, Sometimes I Might Be Introvert is inventive, masterfully written, and diverse in its construction, leaving no stone unturned by an artist whose introversion manifests in a flawless project.

After learning that this project’s tracklist was a lengthy one hour and five minutes spread over nineteen songs, I grew weary that this project would be bloated and unrefined like many rap albums have become in the streaming era. To my surprise, though, this runtime is precisely how long Simbi needs to explore the many intricate themes discussed here - no more, no less necessary. The project never becomes stale, either, with each track transitioning logically and naturally into the next, oftentimes carrying thematic elements over gracefully to keep the listener engaged at all times. “Introvert” is a grandiose, epic opener, and only two tracks later, “Two Worlds Apart”’s minimal, bass-heavy instrumental sets the perfect backdrop for Simz to deliver complex rhymes schemes. The soul-sample-inspired aesthetics of this project just work for me, and I can’t help to hold on tightly to all aspects of Simbi’s intoxicating wordplay.

The production, sonic elements, and instrumentation for this album were clearly assembled with unrivaled craftsmanship and attention-to-detail that modern hip-hop often lacks. “I Love You, I Hate You” builds slowly but surely, and by its end, Simz has reflected on the challenging relationships in her life, with potent verses two and three that tackle the complicated back-and-forth she has always had with her father, leading to eventual forgiveness - not for him, but for her. “Little Q, Pt. 2” is just as deeply personal, but instead recounting her cousin’s upbringing and unimaginable circumstances from his perspective that would lead most to become resentful or hateful. Instead, Simz grows more empathetic and understanding of those in similar situations to the point that she is able to forgive the boy who once stabbed her. Little Simz’ emotional maturation and intelligence are inspiring.

This album is interesting in part because of its use of interludes, which are actually used correctly and effectively instead of simply for artistic effect and stylization. These spoken-word breaks build the album’s theme just as strongly and efficiently as the tracks do. Simz understands that interludes are best used as turning points in albums, but also as bridges that can connect two thematic and sonic elements together harmoniously.

The middle of the album should give Grey Area fans a taste of what made that project so special, with Simbi dropping banger tracks like “Speed” and “Standing Ovation” that leave no holds barred. Almost every track here sounds like a sample cut or interpolation of a classic hip-hop track, which makes it that much more astounding that this album’s production was almost entirely original. These tracks transition into “The Rapper That Came To Tea - Interlude”, which transitions the listener from more hard-hitting rap songs to the genre-bending styles that Simz has now proven she can also master without wavering in her own element. “Protect My Energy” is not only impressive because it’s a What’s Your Pleasure?-level disco-inspired hit, but because its artist can also excel in complicated rhyme schemes and hip-hop beats as well as she can. “Point and Kill” with Obongjayar is inspired by Nigeria according to Simz, and this authentic African influence can be felt throughout the track just as intended. That same vibe continues into “Fear No Man”, but Simz drops more bars before closing the album out on an introspective high-note.

The album’s penultimate track “How Did You Get Here” is one of the moving songs on the project, as Simz outlines every step that it took to find success in doing what she loves. Themes of perseverance despite doubt and lack of confidence thrive here, as they do throughout the rest of the project. Little Simz rightfully reflects on the uphill challenge she has faced as a Black woman in the rap game but describes how she overcame odds to become the amazing woman she is today. As perfect as this track would have been as a closer, “Miss Understood” yet again one-ups Simz, raising the bar and ending just as beautifully as they started.

Don’t worry, I’m very aware of what I’m doing. After only giving one perfect score last year, you might think my standards are slipping. But as a blogger who frequently reviews music, I find it important to come into albums as unbiased, neutral, and objective as possible while holding a consistent standard for the media I consume. This year has just been that good for music. Promises and now Sometimes I Might Be Introvert are flawless, transcendent, once-in-a-lifetime albums that have come out within months of each other, and they all deserve as much praise and recognition as possible. Little Simz has cemented herself as the best female rapper in the industry with this album, and I cannot wait to see where she is able to go from here.

Favorite tracks: All

SCORE: 10/10

Album Review: SINNER GET READY - Lingua Ignota

Kristin Hayter quickly took the world by storm when she began releasing music under her mysterious Lingua Ignota alias. The classically-trained multi-instrumentalist immediately carved out her own sub-genre of dystopian, apocalyptic drone music with religious conventions and frequent themes of pain and infidelity. I was introduced to Hayter’s work after the release of her sophomore album CALIGULA, which featured a tracklist riddled with pain, openness, and healing from previous abusive relationships. That work was spectacular in its own right, and it left me wondering which direction Hayter would take her work next. Her newest album SINNER GET READY brings the hymnal and religious undertones from her prior work to the forefront, commenting on organized religion’s potential to cause either great good or great harm in the world. Hayter is also able to universalize these criticisms and observations for a wider audience, but that isn’t to say that this album is accessible. Instead, Hayter fully embodies the Lingua Ignota moniker with a dreadful, cathartic, and haunting masterpiece on SINNER GET READY.

Hayter uses religious lyricism, instrumentation, and references to establish these themes early on in the tracklisting. Pairing the recognizable sound of beautiful organs with anguished and brash delivery on the track “I WHO BENDS THE TALL GRASS” leaves me so moved and uncomfortable, like many of the tracks here, that SINNER GET READY becomes an album I won’t listen to on a whim. This track comments on the tendency for religious devotees to feel entitled to supernatural intervention just from claiming adherence and belief in a higher power. This aggressive demanding of course falls on deaf ears, leaving the audience in awe of the brutality of this all-too-common phenomenon when many expect whatever they want from their divine being of choice.

Hayter’s intentionality and attention to detail are demonstrated on tracks such as “MANY HANDS”, which directly references her debut album. The repetition of the disturbing and visual imagery employed here, paired with an uneasy and droning instrumental backing, is truly terrifying. Not every track is this sonically draining, though, as others such as “PENNSYLVANIA FURNACE” and “PERPETUAL FLAME OF CENTRALIA” burden only their piercing lyrics with the weight and impact that the rest of the tracks make up for with their stomach-churning production. Instead, these tracks reflect on dark topics like the inevitability of suffering, judgment, and loneliness, with angelic pianos and wonderful vocal harmonies that allow Hayter to show off her classical training. “REPENT NOW CONFESS NOW” is a brilliantly written track that comments on the impermanence of the human body, which is clearly religious in nature, but allows Hayter to discuss the many emotions felt before a very important surgery she had recently.

Hayter may have a complicated relationship with organized religion, but that doesn’t stop her from pointing out its many shortcomings and hypocrisies. “THE SACRED LINAMENT OF JUDGEMENT” features the voice of an evangelist who has been discovered indulging in prostitution. The closing track “THE SOLITARY BRETHREN OF EPHRATA” features the now infamous news clip of a woman claiming immunity from COVID-19 because she was “covered in Jesus’s blood,” which is problematic in too many ways to discuss here. These criticisms are often masked in organized religion’s most compelling conventions, however, such as that same closing track’s beautiful hymnal delivery and composition. Hayter is capable of creating beautiful music when she pleases, just as easily as she can create haunting and lasting representations of the dreadful emotions she often discusses.

If Floating Points, Pharoah Sanders, and The London Symphony Orchestra’s Promises from earlier this year is the music equivalent of Heaven, SINNER GET READY is as apt of a depiction of Hell as possible, but in the best ways. Kristin Hayter’s “Lingua Ignota” persona has served her purpose with her nearly flawless three-album discography. SINNER GET READY is the tormented counterpart to the blissful Promises, which is the only album I’ve given a perfect score this year. I can’t wait to recommend people to not listen to this, but instead just to know how much I enjoyed and appreciated it. Hallelujah.

Favorite tracks: All

SCORE: 9/10

Album Review: Billie Eilish - Happier Than Ever

Few debut albums receive as much acclaim and praise as Billie Eilish’s When We All Fall Asleep, Where Do We Go? did, as she won 7 Grammy awards and frequented the top of the charts for months after its release. That project caught the industry by storm because of its eery aesthetic, stellar production, and incredibly well-written lyrics. As unique and interesting as it was, the project also reflected Eilish’s shockingly young age with multiple pop culture references and sometimes playful delivery. Eilish’s notoriety and recognition has expanded exponentially since her debut, leaving many wondering which direction she would take for her sophomore album. Lead singles with a clearly defined new approach, subdued instrumentation, and matured subject matter set the stage for a rollout that took me completely by surprise. Completely different than its predecessor but with just as stellar production and sound, Happier Than Ever could understandably be called a step up for an artist who has already proven that she has what it takes to rightfully call herself an international superstar.

“Getting Older” is a completely different direction as an opener than “Bad Guy”, allowing Eilish to catch her listeners up on her mental state since her last release with piercing lyrics and honesty. Lines like “Things I once enjoyed just keep me employed now / things I’m longing for someday I will be bored of” are direct and succinctly reflect the existential realizations Eilish continues to make as she has more music industry experience under her belt. “I Didn’t Change My Number” takes more of a confident and braggadocious tone, as Eilish continues to express her growing confidence as a person and an artist. Finneas’s production shines this track, allowing his sister’s delivery to flow seamlessly with a minimal but hard-hitting backing instrumental. The abrasive production toward the end of the track keeps me coming back for more. “Billie Bosa Nova” is a sensual, understated track that depicts the story of a mysterious meetup. Eilish’s storytelling ability shines through here, which is a refreshing change of pace for a writer who often leans more on imagery than narrative. We’ve heard “my future” already, and luckily it fits very well into the tracklisting sonically and thematically. This track also allows Eilish to show her vocal range and control very well.

“Oxytocin” is an immediate standout that could’ve easily functioned as a great lead single for the project. The closest thing this album has to a club banger, this track is eery, moody, and uptempo in all the best ways. Eilish moves on to explore a more creative approach with “GOLDWING”, which is a two-part track that opens with the hymnal, choral delivery and religious imagery that transitions into a more hard-hitting song by the end of its brief runtime. “Lost Cause” was another lead single, and its slippery bass line is still completely addictive. The energy that the lead singles lacked is made up for by the accompanying tracks on this album, and that more understated delivery makes more sense in the context of the project. “Halley’s Comet” is a very emotional piano ballad that, along with the following track, gives pause to an album that is already moving full steam ahead. I’m a sucker for slower, introspective tracks, so while this may be too much of a downer for some, it’s luckily right up my alley.

“Not My Responsibility” feels like an interlude in the tracklisting despite its nearly 4-minute runtime. On this track, Eilish uses spoken word to confront the amalgamated collective of judgmental figures that have critiqued her as an artist and a person since she was a teenager. She directly acknowledges the “controversy” behind what she wears and how she looks, which I commend as a bold, confident, and necessary statement that applies not just to her, but to all women who are unjustly judged for their appearance and expression. Finneas then works his magic by transitioning this track effortlessly into “OverHeated”, which is another highlight (of many) here.

I thought that “Everybody Dies” would culminate in a more poignant message by its end, and while I enjoyed this track, I think that it could’ve been given more thought and attention. Perhaps this is just because all of its surrounding tracks are just so refined and impressive. The next three tracks are all singles, and all fit well together, especially as the impactful “NDA” flows triumphantly into the upbeat “Therefore I Am”. Finneas really knows what he’s doing, doesn’t he?

This album’s title track is quickly becoming my favorite piece of music Billie Eilish has released thus far. The two-part track mirrors the structure of Phoebe Bridgers’ “I Know The End”, which was one of my favorite songs last year. Eilish contemplates a failed relationship and how she has coped with it ending in the album’s first half, backed by simple acoustics. The second half of this track is simply astounding, as electric guitars pair with Eilish’s passionate and overcharged delivery. This track is so incredibly well-written and assembled that it makes me reassess Eilish’s ceiling as an artist, which now feels non-existent. Pair this with such a great music video, and you have a nearly perfect track. “Male Fantasy” is a wonderfully melancholic closer that allows Eilish to acknowledge the industry’s shortcomings and a male-centric society that she has had to continue to try to overcome as a young woman paving her own path. All in all, this is another great track on an already amazing album.

While the drawn-out rollout for this project left me slightly concerned with its direction, its actual release completely relieved any worries I had. Billie and Finneas have once again struck gold with their homegrown musical genius, proving that their debut success was anything but an anomaly. Creatively, Eilish is charting unnavigated waters at such a young age - and I can’t wait to continue to watch her growth as an artist. Her concert can’t come soon enough.

Favorite tracks: “Getting Older”, “Billie Bossa Nova”, “my future”, “Oxytocin”, “GOLDWING”, “Lost Cause”, “Halley’s Comet”, “OverHeated”, “Your Power”, “NDA”, “Happier Than Ever”, “Male Fantasy”

SCORE: 8/10