Album Review: I Didn't Mean To Haunt You - Quadeca

Creating a concept album is one of the most difficult challenges that a musician can partake in. Often centering around a linear narrative or discussing specific topics in-depth, concept albums require an intense attention to detail and ability to continually captivate their listeners without becoming stale or repetitive. When executed poorly, these projects can come off as pretentious or overambitious, but when pulled off successfully, concept albums are able to offer compelling messages that resonate more with listeners than standard albums do. I Didn’t Mean To Haunt You, released recently by Los Angeles native rapper, artist, and YouTuber Quadeca, is one of the most intriguing concept albums released this year. Its creative perspective, heartbreaking honesty, and authentic vulnerability elevate Quadeca’s artistry to new heights that I previously thought unachievable for the 22-year-old rising star.

I Didn’t Mean To Haunt You’s foundation is a subversion and new interpretation of two widely-discussed topics: death and grief. Instead of being told from the perspective of someone who has lost a loved one, I Didn’t Mean To Haunt You is told from the perspective of someone who has died and is mourning the life and loved ones that they left behind. Sitting uncomfortably in an in-between state, the album’s narrator deals with the stages of grief and feelings of loss as they watch others cope with their new absence. This ambitious and captivating approach pairs perfectly with the album’s otherworldly ambiance and aesthetic — hauntingly ambient instrumental tracks and layered vocals create a ghostly delivery that will not be soon forgotten.

The album’s opening track “sorry4dying” is the perfect introduction to the narrator’s circumstances. This piano-backed and melodic track portrays someone who is realizing that they are now in the afterlife, situating themselves in relation to those who they left behind. The central conflict for the project is introduced here, as well, in the lines “I just want to hold you / Without haunting,” as the narrator realizes that holding on to the life they once lived will bring distress to those he just wants to reconnect with again. “tell me a joke”, one of the projects lead singles, sees the narrator reflect on the shortcomings of their life, culminating in the idea that their existence was a joke filled with hardships and difficulties. Like many of the songs on this album, this track builds and crescendos into a symphonic finale that incorporates all of the song’s elements at once, layered masterfully over one another.

“don’t mind me” is a haunting and downright depressing appeal to the narrator’s mother who is grieving her late son. The narrator wants her to move on, but going through his belongings keeps him in her memory. The song’s uptempo delivery understates just how intensely melancholic its messaging is. “picking up hands” is next - an acoustic and ambient offering that sees our narrator intensely mourning his childhood and upbringing from the other side. This track is slightly less sonically inventive than the others on the album, but its subject matter is consistent with the rest of the project. “born yesterday” is a highlight and served as the lead single for the album, paired with an incredible music video. This glitchy rap-influenced track finds the narrator finally accepting and coming to terms with his death, a perfect transition into the interlude like “the memories we lost in translation”.

Up until this point, I was thoroughly impressed with this album. That’s why with “house settling” onward, I was completely blown away by Quadeca’s artistic capability, as these are some of the best songs released in 2022, an already competitive and abundant year for music in general. While this track is largely open to interpretation, it has been confirmed that Danny Brown’s feature is told from the perspective of carbon monoxide, so do with that what you will. The production quality is immensely impressive here, outmatched only by the following track. “knots” was quickly in song of the year contention upon my first listen. Sounding like a combination of BROCKHAMPTON and Death Grips, this electro-experimental song impresses from beginning to end and serves as an entire experience in its own right. “fantasyworld” has a tough act to follow, but it does so hauntingly and beautifully, as the narrator reflects on the many experiences that we tend to put off in life. Doing so from the other side of death is a harsh and poignant reminder to make the most of the life we have. Deep stuff, handled masterfully.

“fractions of infinity” comes next and reminds me of the gorgeously ambient and transcendent tracks that Pink Floyd got famous releasing. The Sunday Service Choir’s repetition of “Those words don’t do you justice” won’t leave my mind after multiple listens - depicting just how deeply our narrator feels now and how they did throughout their time on Earth. “cassini’s division” is one of the more artistic and experimental tracks on the album, serving as a narrative conclusion as the album’s speaker evolves into static between life and death, letting go of all of their grief, anguish, and trauma. With almost three minutes of static to finish the song, I can see many viewing this conclusion as confusing if not unsettling, but I find that it serves Quadeca’s artistic vision well.

This project’s conceptualization is dark; to engage with it is to accept one’s mortality and empathically relate to the narrator’s grief and mourning of the waking world. But great art wants to be truly understood. Quadeca’s decision to expose his most vulnerable ruminations on this project is nothing short of admirable, and the dedication and care put into every track is palpable. While not every song here has a lasting effect on me, the whole is so much greater than the sum of its individual parts. Deeply philosophical, narratively captivating, and hauntingly intelligent, I Didn’t Mean To Haunt You sets a new bar of artistry and standard of excellence for the wickedly skilled Quadeca.

Favorite tracks: “sorry4dying”, “tell me a joke”, “don’t mind me”, “born yesterday”, “house settling”, “knots”, “fantasyworld”, “fractions of infinity”, “cassini’s division”

SCORE: 8/10

Review: House of the Dragon (Season One)

For years, I was glad to partake in the biggest television phenomenon in recent memory with the release of HBO’s mostly-acclaimed Game of Thrones series. Appropriately recognized with countless awards and praise from critics and fans alike, Game of Thrones made the most of its source material, the “A Song of Ice and Fire” book series from author George R. R. Martin, by dramatically depicting its medieval fantasy drama and intrigue on the big screen. Where Game of Thrones went wrong, however, is when the series surpassed the incredible foundation that its original author established, navigating uncharted territory as the show-runners seemingly made important plot and story decisions on their own since their story had surpassed what books had released up until then. At this point, all of the incredible writing, tension, and build up that had made Game of Thrones what is was dissipated, culminating in one of the least satisfying and rushed final seasons in TV history. This fall from grace disappointed many, including myself, but the lore and richness of the world of Westeros never ceased to draw me back in. So when HBO and George R. R. Martin announced a prequel series based on the author’s writings in “Fire and Blood,” I knew I would have to check it out. * This post contains spoilers for House of the Dragon (Season One.)

Based almost 200 years before the events of Games of Thrones, House of the Dragon follows the political conflict that arose during and after the reign of King Viserys, who selected his daughter Rhaenyra to succeed him after his eventual death. His Queen, Alicent Hightower, misinterprets the king’s dying words later in the season, thinking instead that he has had a change of heart and that he wants his son Aegon to succeed him. While the prospect of Rhaenyra becoming the first woman to lead the Seven Kingdoms already didn’t sit well with many of the Westeros common folk, the Hightower’s coup after Viserys’ death leads to the civil war known as the “dance of the dragons,” which will define future seasons as bloodshed and betrayal are all that Viserys The Peaceful will have left behind as legacy. This controversy, along with other intergenerational battles for power, dragons, and explorations of the lore of Westeros, made season one a treat with political twists and turns I never expected this show capable of executing so well.

Although skeptical at first because of Game of Thrones’ disappointing ending, I was quickly enthralled by House of the Dragon’s competent writing, compelling storylines, and incredible performances. Although re-casting throughout the first season due to story-based time jumps, all actors involved serve their characters and the greater story incredibly well. King Viserys', portrayed by Paddy Considine, was particularly impressive as his diseased character navigated the difficulties of ruling over the Seven Kingdoms. Rhaenyra, Alicent, and Daemon feel just as significant as any of the characters we grew to love in Game of Thrones. Despite having a much lower budget than a series like Amazon’s The Rings of Power, the production design and world building establish much connection to the character’s emotions and experiences. To reconcile the feelings I had about the end of Game of Thrones while moving forward to House of the Dragon, I’m reminded of this: No television adaptation of George R. R. Martin’s direct source material has disappointed yet, so there is no reason to think this will change. Season one of House of the Dragon was a surprising treat, and season two can’t come soon enough.

Album Review: The Forever Story - JID

Dreamville Records took the hip-hop community by storm in 2017 by signing both Atlanta native rapper JID and duo EARTHGANG within a span of six months. Dreamville’s founder J. Cole has already established himself as one of the most critically-acclaimed and commercially successful conscious rappers of his generation, but one of his underrated skills appears to be having an eye for young, undeveloped talent with limitless potential. JID, whose artist name references the nickname his grandmother gave him as a “jittery” child, has continually put out impressive feature performances as follow-ups to his debut albums The Never Story and DiCaprio 2. In the four long years since his most recent studio-length project, the hype and conversation regarding JID’s potential has continued to build, and the highly-anticipated third studio album The Forever Story quickly became one of the most looked forward to in 2022. Now that the project is here for us to unpack, the conversation needs to evolve from how JID could be a great artist one day to how he may already be one of the most talented rappers in the industry, especially out of those from Atlanta.

The opening track “Galaxy” quickly demonstrates that this project isn’t just a typical rap album; instead, this soulful and spacey intro track foreshadows a complexity and nuance that will be realized in greater depth later in the album’s tracklisting. That isn’t to say, however, that there will be no bangers on the project, because the hard-hitting songs here are some of the best in years in the hip-hop community. “Raydar” is our first example of this, with JID immediately dropping intricate and multi-layered bars over a relatively simple instrumental backing. A repetitive hi-hat drum is all JID needs as he weaves his verses, leading to a chorus that references his college football days by incorporating audio from a referee’s penalty call. Precisely halfway through the track signals a beat switch that allows JID to show off his ability to find a pocket on any beat, changing tempos and rhyme schemes impressively all while staying in connection to the track’s overall themes of systemic corruption and Black struggle in America. Next is “Dance Now (feat. Kenny Mason)”, an equally impressive banger that served as one of this project’s lead singles. A masterful example of the use of homophones, this project’s lyrical scheme is incredibly impressive, particularly the Ja Morant line found at the end of the first verse. Check out this track’s music video here.

“Crack Sandwich” is a detailed storytelling track that further demonstrates JID’s comfort and skill with writing compelling verses that flow together effortlessly. This is the first example of many references to familial bonding and generational trauma that JID and his siblings encountered in their youth. “Can’t Punk Me (feat. EARTHGANG)” incorporates both members of the Dreamville duo perfectly as this track outlines overcoming difficulties in Atlanta streets growing up. The Atlanta references continue on “Surround Sound (feat. 21 Savage & Baby Tate)”, a deceptively deep banger with one of 21 Savage’s best features in years. The variety referenced earlier first appears with the next track “Kody Blu 31”, a melodic and heartbreaking story about JID’s friend Kody’s son who died at a young age. His advice to continue to “swang on” serves as a beautiful reminder that life is worth living even in the darkest of times, especially with the right people around us.

“Bruddanem (feat. Lil Durk)” and “Sistanem” serve a duo package in the middle of the tracklisting that shows love and respect to JID’s siblings, a continuation of the family appreciate theme established earlier. “Sistanem” is a particularly insightful and introspective track outlining the timeline and evolution of JID’s relationship with his sister, while I found Lil Durk’s contributions to “Bruddanem” slightly underwhelming. Plus, who doesn’t love a surprise James Blake appearance? He fits perfectly on the chorus to “Sistanem”.

The back half of this project has unique and interesting deep cuts, such as “Can’t Make U Change (feat. Ari Lennox)” which uses her vocal abilities wonderfully on the bluesy instrumental backing track. This track allows JID to reflect on his stubbornness and inability to mature given his challenging upbringing, which is a sign in and of itself that he’s willing to put in the work to continue to grow. “Stars (feat. Yasiin Bey)” is an inspiring look at JID’s perspective of fame, especially before he made it as a success in the industry. This track also accomplishes getting these two artists together on the same track, which fans have been clamoring for for years.

“Just In Time (feat. Lil Wayne & Kenny Mason)” is a bit less substantive than its surrounding tracks, but both features contribute impressive verses, with Wayne’s effort standing out as particularly strong when compared to his recent guest appearances on different albums. “Money” discusses JID’s relationship with newfound money and pursuit of generational wealth, but this track’s dissonant tempo and choppy sample doesn’t stick the landing for me. “Better Days (feat. Johnta Austin” is a beautiful reflection on JID’s childhood friendship that reveals a friend whose path led to prison, while JID’s led to worldwide success and opulence. “Lauder Too (feat. Ravyn Lenae & Eryn Allen Kane)” serves as a sequel to one of his previous album’s tracks “Lauder”, as JID continues to question if the success he has achieved is enough, or how high his ceiling truly goes given that he is so young and talented at just 31 years old.

Because “2007”’s sample wasn’t cleared in time for the album’s official release and will likely appear on the deluxe, I will consider “Lauder Too” the closer on this review, which while isn’t JID’s vision, still fits very aptly in reflecting on JID’s sudden rise to prominence and questioning how much higher he can go from here. In my opinion, the sky’s the limit, as JID’s substance, skill, and authenticity on this project are up there with the best in the industry at the moment. “2007” is an incredible track, however, and serves this project beautifully as an epilogue that reflects on JID’s entire journey. You can listen to “2007” here. “The Forever Story” feels like the launchpad for JID to take his craft to the next level, rivaling the masters in his field and establishing his prominence as the king of Atlanta rap. I cannot wait to see where he goes from here - J. Cole found a special talent in JID.

Favorite tracks: “Raydar”, “Dance Now (feat. Kenny Mason)”, “Crack Sandwich”, “Can’t Punk Me (feat. EARTHGANG)”, “Surround Sound (feat. 21 Savage & Baby Tate)”, “Kody Blu 31”, “Sistanem”, “Stars (feat. Yasiin Bey)”, “Just In Time (feat. Lil Wayne & Kenny Mason)”, “Better Days (feat. Johnta Austin)”, “Lauder Too" (feat. Ravyn Lenae & Eryn Allen Kane)”, “2007”

SCORE: 9/10

Best Foot Forward: A Sneaker Series (Part 15)

August is finally here, which means cool breezes, fall outfits, and the end of blisteringly hot summer days are almost upon us. In 2022, I decided to focus on refining and maximizing my sneaker collection’s potential by placing an emphasis on quality over quantity when considering my next purchases. To do so, I’ve carefully considered how each pair corresponds to the rest of my collection and wardrobe, while also taking into considering Atlanta’s often unforgiving climate. Luckily, the hottest days of the year are now behind us, and each pair of sneakers highlighted in this post will be able to complement sweaters, coats, and jeans to create the best fits possible very soon. This has been a very fortunate year for my sneaker collection, and as always, I’m grateful to be able to share some of the highlights on “Best Foot Forward.”

Pair 1 (Upper Left): Rick Owens Ramones in Natural

After I initially purchased a black pair of this iconic Rick Owens silhouette, I assumed that I wouldn’t eventually add another pair of this model to the rotation. Objectively a bulky, unconventional pair of sneakers, the Ramone silhouette has always appealed to me because of how well it pairs with the oversized streetwear aesthetic. This pair’s cream colorway, pentagram accent logo, and slightly more structured materials than on my other pair made these a necessary pickup when I found them on sale on EndClothing.com.

Pair 2 (Lower Left): Birkenstock Boston in Taupe Suede

I’m always looking to add variety and practicality to my rotation, which is exactly why I recently purchased a pair of Birkenstock’s iconic Bostons. Extremely easy to slip on, this pair can be either dressed up or down and worn year round. They’ll primarily be used for everyday activities like walking the dog or taking out the trash for me, but I also have some fall outfits planned that center around this simple yet effective style.

Pair 3 (Upper Right) Maison Margiela GAT in Black Splatter

The Maison Margiela GAT has quickly become one of my favorite designer sneakers. Its simple design can easily be made eccentric via its artistic and eye-catching colorways, often channeling Jackson Pollock’s abstract paint-splatter techniques, which are some of the greatest pieces of all-time. This black pair serves as a canvas for vibrant red, blue, and yellow paint spatterings that pair perfectly with its brown gum sole. While not for everyone, I love this pair and often let this be the statement piece that defines whatever fit it’s in.

Pair 4 (Lower Right): Adidas Yeezy Boost 700 “Wave Runner”

Instantly recognizable, the Yeezy Boost 700 is one of the controversial artist’s most iconic pairs of sneakers released to date. Utilizing a unique color palette of neon orange and yellow with many shades of blue and gray, this pair really shouldn’t work on paper. But in practice, the “Wave Runner” 700 is an alluring and eclectic pair of sneakers, made only more appealing by their incredibly comfortable structure. Politics and controversies aside, Kanye West’s style and music will always have a special place in my heart, and these shoes are no exception.

I feel incredibly privileged to be able to explore an interest of mine while curating and building a collection of sneakers that allows me to express myself and connect with a community of people with the same passion for shoes that I have. Even though every pair can’t be worn as often as I’d like, owning pieces of history that help encompass the entire sneaker culture is such a fantastic feeling. With the hottest days of the year behind us, I’m looking forward to doing these pairs justice with proper outfits as soon as possible.

Album Review: Hellfire - black midi

Hellfire is the third studio album from British experimental rock band black midi. Following the release of their critically-acclaimed debut Schlagenheim and personal favorite sequel Cavalcade, the group needed to prove that their challenging, avant-prog aesthetics and sonics were sustainable and continually inventive statements that could keep evolving and growing alongside their skilled members. Recorded in just under a two-week period, Hellfire exceeds expectations by raising the group’s bar for storytelling, technical instrumentation, and thematic genius. This project proves just what’s possible when a youthful, enthusiastic, and sometimes demented trio of young talent abandons all outside expectations in the pursuit of a blazing, hellish, and cathartic piece of art, which is exactly what they’ve given us to gnaw on with their latest release.

The opening title track exemplifies lead vocalist Geordie Greep’s intense, unsettling deliveries over an urgent, manic instrumental. Brief in runtime but straight to the point, “Hellfire” captures the essence and energy that the group is exuding throughout this whole album, which, in many ways, is the logical conclusion of the intensity of Cavalcade that came before it. “Sugar/Tzu” tackles a difficult jazz fusion genre, oftentimes a roller coaster with melodic and calming lows that contrast with its spellbinding and disorienting highs. Seemingly nonsensical lyricism reveals an intricately woven and poetic narrative upon further inspection that I won’t discuss in-depth in this review - instead, I recommend trying to make sense of it all yourself. “Eat Men Eat” is next, and with its otherworldly dystopic narrative and slow-build anguish, justifies the album’s title. An intentionally uncomfortable listen, this semi-demonic track bellows and gnashes its way to the following “Welcome To Hell”, my favorite track on the album.

The heartbreaking, discomforting narrative of a soldier’s experiences with PTSD and navigating the atrocities of war is truly unforgettable. From the highlights of camaraderie and indulgence found in neon light, fornication, and excess to the depths of verbal abuse, guilt, and eventual discharge, the intensity and gravity of this track’s rock-inspired instrumentation is one of the most compelling yet deranged tracks I have ever heard. A reprieve from the potency of the previous track, “Still” is a more straightforward and accessible track that contemplates the fact that sometimes others are better off without you. Inherently depressing in content, this track’s sonics are as rhythmic, familiar, and comfortable as we find on Hellfire. The 26-second “Half Time” is next, an intermission style interlude that serves as a breather for the winded listener about to take another round of beating with “The Race Is About To Begin”.

Continuing the narrative found earlier in “Welcome To Hell”, we follow the discharged soldier as he free falls into the bottomless pit of gambling addiction. Greep’s vocal performance is nothing short of incredible here, reflecting the descent into madness of someone completely overtaken by the chase of another decent payout that will never come. The soldier metaphorically pursues that high for thirty years on this track, and instead of coming to his senses, eventually yet again justifies his shortcomings, despite giving up everything in the process. “Idiots are infinite / And thinking men are numbered / Don’t kid yourself / This isn’t news” are some of my favorite lyrics of the year so far.

“Dangerous Liaisons” offers us an encounter with the devil himself, as the song’s narrator is misled into committing a terrible act and eventually eternally damned even despite his eventual guilt and reform. This track is thematically captivating, but its instrumentation feels unexpectedly whelming in the shadows of the colossal songs around it in the tracklist. “The Defence” is a brilliantly written exposé and critique of the hypocrisy in organized religion, as the track’s Christian pimp narrator doesn’t realize that it isn’t his girls who are going to Hell, but instead, he is. This track, along with many others here, prove Hellfire the most intelligently written of all of black midi’s work so far. The album’s closing track “27 Questions”, channeling a similar intensity to the projects opening songs, wraps up this epic journey in a self-aware and concise manner, as Greep breaks the fourth wall through his character to address the audience directly with rhetorical questions and unfalsifiable assertions. The wide-ranging subject matter of these closing lines suggests that this is simply the beginning of the scope that the young black midi will go on to tackle, and for that, we should all be grateful.

Some creators naturally exist on a different level than others could dream of ever achieving. black midi’s radiant, lore-driven, technically masterful artistry is still in its early stages, but projects like Hellfire demonstrate that they are present here and now to deliver some of the best rock music in decades. Touring alongside Black Country, New Road in the fall, after the release of their perfect Ants From Up There earlier this year, black midi knows that keeping good company is the key to the upward, transcendent spiral that separates their music from the noise, and I hope that the mostly happy-go-lucky group can tap into whatever hellish muse they’ve discovered for years to come.

Favorite tracks: “Hellfire”, “Sugar/Tzu”, “Eat Men Eat”, “Welcome To Hell”, “Still”, “The Race Is About To Begin”, “The Defence”, “27 Questions”

SCORE: 9/10