Album Review: folklore - Taylor Swift

It’s hard to pinpoint exactly when Taylor Swift’s career “started”. Even upon the release of her self-titled debut album in 2006, Swift had established a fanbase and following which led that project to top the Billboard Top Country Albums Chart for over six months. Swift has never feared evolving, as each of her subsequent releases pleased fans while also experimenting with different genres and sounds. After the release of her critically-acclaimed album Lover in 2019, I expected Taylor Swift to continue her successes in the radio-friendly pop variety, emulating and releasing more songs like “ME!” and “You Need To Calm Down”. The title track from that project, “Lover”, went slightly against the grain in that regard, providing more of a ballad with a focus on songwriting and lyricism than pop appeal, which I suppose now was a sign of things to come. It was to my surprise when Swift announced on Instagram yesterday that she would be releasing her eighth studio album folklore at midnight. The title and aesthetic of the album’s rollout intrigued me, as it seemingly hinted at an indie folk sound which Swift hasn’t yet explored in her discography. On my first listen, I knew this project was different than anything she had released yet, and that Taylor Swift’s maturation as a singer-songwriter was clear. This is a great project.

The opening track, “the 1”, continues Swift’s themes of could-have-been relationships and regrets, but in a reinvented style, with a focus on creative writing and storytelling. The opening lines “I’m doing good, I’m on some new shit” are an immediate indication that Swift fully recognizes and is embracing her reinvented image and sound, which is more revealing and personal than usual for her. The sentimentality of this track foreshadows the downtrodden and sometimes eery mood this project creates and gets things off to a mellow but strong start. “cardigan”, the album’s second song, wears its Lana Del Rey influence clearly and confidently on its sleeve, especially with lines like “To kiss in cars and downtown bars / Was all we needed”. I can see this being a huge radio-hit, and one I wouldn’t mind having on repeat, as it sounds like it could’ve easily fit into Del Rey’s Norman Fucking Rockwell! The next track, “the last great american dynasty”, tells the story of Rebekah Harkness in Swift’s usual contemporary style with a slight folk influence. I hear Phoebe Bridgers’ influence on this track, but that may just be because I’m still frequently listening to Punisher. The album’s first three tracks are strong, and luckily this hour-long record has few low points.

“exile (feat. Bon Iver)” pairs Justin Vernon and Taylor Swift together to create haunting harmonies in what feels like a fairly traditional breakup song. “my tears ricochet” is an interesting narrative, but the slow tempo seems to stretch this project’s runtime a bit unnecessarily. I wish this song had been workshopped a little bit more. I feel similarly about the next track “mirrorball”, which utilizes the interesting concept of likening herself to a disco ball, but in a somewhat forgettable manner. “seven” is a strong recovery, reintroducing a more uptempo folk sound which contemplates childhood and all of its difficulties and simplicities. “august” is a standout on this project for me, as this Jack Antonoff co-produced track tells a story of young summer romance. This tracks just completely captures the essence of a sun-soaked and youthful summer, including its highs and lows. “this is me trying” is another simplistic track which feels like a response to those who claim Swift tends to displace blame and responsibilities on others, finally looking inward and accepting that she is trying to be a better person and partner, too. This ambient track features one of my favorite lines on the album, which is “They told me all of my cages were mental / So I got wasted like all my potential”, which is just remarkably potent.

The following “illicit affairs” is one of the most well-written songs here, a track about infidelity enraptured in fluttering acoustic guitar accompaniments. Tracks like these impress me, as it becomes clear Swift is writing music she wants to write and flexing her songwriting abilities more so than on other projects. “invisible strings” is another highlight here, featuring the interesting concept of inherent ties between people. The plucky acoustic guitar pairs nicely to Swift’s wide-ranging vocal performance on this track. “mad woman” feels like it bites off more than it can chew, as the attempted narrative doesn’t seem to land for me. This is a track which I find could actually benefit from another minute or two of fleshed-out storytelling.

“epiphany” is different than any track Swift has released in her discography to my knowledge. As this project was written and recorded in the midst of the coronavirus pandemic, this song takes on a gravity and heaviness, especially in its second verse. By juxtaposing and comparing military soldiers and medical workers, Swift commends the bravery required by both to do their valiant jobs well. “Betty” is one of the most traditional folk songs on this album, using harmonica and descending guitars to complete the “cardigan” / “august” / “betty” narrative this album creates, which ends up utilizing a strong feminist outlook and conclusion. “peace” is an introspective contemplation on growing older, continuing this album’s tendency to choose narrative over radio-appeal. “hoax” is a somewhat depressing closing track, but that isn’t to say it isn’t impressive lyrically and sonically, as Swift reflects on the toxicity of a relationship she can’t bring herself to leave, with lines like “Don’t want no other shade of blue but you / No other sadness in the world would do”, which is heartbreakingly clever and raw during the circumstances we find ourselves in, which is a generally sad world.

I was thoroughly impressed and surprised by the direction Taylor Swift took with this album. She has unabashedly and confidently rebranded her sound and image, now appearing more introspective, emotionally revealing, and mature than ever. This project is basically my ideal Taylor Swift album, which I very much enjoyed. I hope that her sound continues to evolve, because if she continues to release music on this level of quality, we’re all in for a treat. Thanks for reading.

Favorite tracks: “cardigan”, “the last great american dynasty”, “seven”, “august”, “illicit affairs”, “invisible string”, “epiphany”, “betty”, “hoax”

SCORE: 7/10

Best Foot Forward: A Sneaker Series (Part 12)

In an effort to emphasize the concept of quality over quantity, I’ve started refining the kind of footwear on my wishlist. Instead of purchasing more pairs of lower quality sneakers which I’m not entirely interested in, I’m making sure I won’t regret the purchases I’m making. Recently, I was able to add the highly-coveted and exclusive Air Jordan 1 collaboration with Los Angeles-based streetwear company Union in the “Black Toe” colorway to my collection, which I will be featuring in this post. Let’s jump into it.

If you’ve read the previous installments from this series, you know that the Air Jordan 1 High Retro is my favorite sneaker silhouette of all time. Whether it’s the original colorways which released when Michael Jordan was active in the 1985 season or new collaborative offerings, I’m a sucker for this shoe. In recent years, Jordan Brand has teamed up with the likes of Off-White, Travis Scott, Union, and Dior to create some of the most hyped sneakers in a long time. While incorporating the essential characteristics of this instantly-recognizable silhouette, this Union collaboration also utilizes minor design changes which just makes this pair pop.

This sneaker combines classic colorways elegantly, pairing the original “Natural Grey” upper and tongue with the “Black Toe” heel and toebox. A stitched and exposed tongue gives this pair a rugged and vintage vibe, which is accentuated by a soft yellow midsole, similar to that of the Travis Scott Air Jordan 1. Blue and yellow accents throughout this pair makes them even more noticeable and unique. I would sub in the alternate yellow laces if it weren’t for the amazing default pair which splits halfway down the middle, pairing black and cream together beautifully. This is how collaborations should be done: unique and experimental while maintaining what made the silhouette a classic in the first place.

Taking a different approach to buying sneakers has been very fulfilling and satisfying so far. Prioritizing quality over quantity is a practice which I’m trying to apply to every aspect of my life, not just the sneakers on my feet. But either way, most sneakerheads respect the Air Jordan 1 High X Union for the amazing collaboration that they are. Me included. What do you think of these? Let me know. Thanks for reading.

Let's Talk About... Kanye West

Some topics are more difficult to discuss than others. Due to the uncharted circumstances we find ourselves in, it’s easy to discourage discourse instead of tackling these divisive subjects in an effort to reach logical and reasonable conclusions. I value having constructive environments and platforms which encourage learning, communication, and understanding, which is why I’m starting this series on my blog. “Let’s Talk About…” will cover a wide variety of topics which, at times, can appear difficult to navigate and comprehend. I’m going to try to articulate my perspectives as clearly as possible, which will hopefully simultaneously further your understanding on the different subjects I’ll be covering. To kick things off, I’m going to be discussing Kanye West, mental health, and the perpetuation and enablement of toxic behavior. Let’s get into it.

I find it necessary to begin by stating that, generally, I’m a pretty big fan of Kanye West. I grew up listening to all of his albums to the point that he became, and still is, my most listened-to artist on Spotify of all-time. At his best, Kanye West is a trend-setting and creative genius who uses his platform to advance progressive ideas and provide a voice for the voiceless. But it has been a while since we’ve seen Kanye’s best. Over the past few years, it’s clear that Kanye’s behavior and perspective have both changed, as his public statements, interviews, and album rollouts have become more manic and unpredictable. This downward trend has reached a boiling point recently, as Kanye declared a presidential bid and seems to have had an emotional breakdown at his recent South Carolina campaign rally. Kanye claims to battle Bipolar Personality Disorder, and recent events would hint that this self-diagnosis may be accurate. While many are looking to make light and jokes out of this situation, I’ve begun to realize that there is nothing funny here. This is the springboard for a necessary discussion about mental health we need to have in this country.

Mental health issues can present themselves in a variety of ways. Happiness and sadness aren’t the only two emotions associated with Bipolar Personality Disorder; things can become manic, unstable, and strange as they have recently with Mr. West. Let’s also not forget that Kanye was involved in a severe car accident years ago which could have caused a traumatic brain injury which could be contributing to these recent episodes. Kanye has claimed he stops taking his prescribed medications when working on a new music project, which he seems to be currently after promoting his supposedly upcoming album DONDA. Instead of those around him stepping in and getting him help, their complicit nature has silently encouraged these behaviors and actions. I’m not nullifying Kanye’s responsibility — he needs to seek help for himself, too — but often times, those struggling with mental health issues have lost perspective on their circumstances and are not in the right mindset to seek the help they need. We need to make healthcare accessible for everyone who needs to address mental health issues, and remove the stigma and shame surrounding seeking help. The company Kanye has situated himself with haven’t helped him recover, and the twenty-four-hour news cycle has continued to perpetuate the headlines which only aggravate the situation.

A former reality TV-star and debatably successful businessman (but not really) became president in 2016, and it seems that many now believe that the most prestigious office and job in the world is up for grabs for anyone to claim. Instead of immediately disregarding Kanye’s announcement of a presidential candidacy, social media and the mainstream news gave this story much more credibility than it deserved from the jump. Kanye’s supposed platform isn’t substantial, it’s built on verifiable misinformation and untruths, such as the recent claim that Harriet Tubman didn’t actually free slaves. These outlandish comments gather press and attention which I used to chalk up as a botched album rollout to increase first-week sale numbers, but now believe are an unknown cry for help from a deeply troubled man dealing with serious mental health issues.

This whole situation is developing, complicated, and sad. Just as soon as Kanye seemed to be on the right track joining Black Lives Matter protests, donating two million dollars to related causes, and claiming to have thrown away all of his Trump apparel, things just get worse again. I sincerely hope that Kanye seeks help, gets treatment, and reinvents his image, returning to the sort of artist he used to be. It’s looking less and less likely that this will happen, though, which disheartens me. What do you think of Kanye West as an artist and public figure? What do you think will happen next with him? Let me know. Thanks for reading.

Rest In Peace, John Lewis

On Friday night, lifelong activist and civil rights advocate John Lewis passed away at 80 years old after his fight against pancreatic cancer. After being one of the youngest leaders in the March on Washington in 1963, Lewis went on to represent Georgia’s fifth congressional district for seventeen terms while continuing to strive for equal rights and treatment for all. Lewis was one of the most influential and inspiring voices of my lifetime, and I hope his ideas live on for generations after him.

It saddens me that his passing came at such a turbulent and unstable time in this country. Recent events, protests, and movements have highlighted how far we still have to go as a nation. The same systemic injustices which Lewis identified throughout his life still exist just as much now as they ever have. Disproportionate incarceration rates, police violence, generational poverty, wage inequity, voter suppression, and gerrymandering are just some of the realities which many black Americans unfairly face on a daily basis in this country. The Black Lives Matter movement isn’t simply a trend, but instead a continuation and reminder that we need to actively seek legislative justice to address and resolve these systemic failures, continue to educate and familiarize ourselves with black history and experiences, and advocate for a just society which treats all fairly and equally.

It hurts to lose an icon who was such a powerful force toward progressivism and change in this country. While my outreach and influence is limited on this blog, I also believe in being the change I want to see in the world, which means speaking up about issues which need to be addressed. To quote John Lewis, “When you see something that is not right, not fair, not just, you have to speak up. You have to say something; you have to do something.” In a time of struggle and strife, it’s important to stay engaged and active instead of accepting the inequities around us. That’s what I’m always going to continue to do. Rest in peace, and power, Mr. Lewis.

Thanks for reading.

Album Review: Legends Never Die - Juice WRLD

In December 2019, the hip-hop community was shocked and appalled to hear that Chicago artist Juice WRLD had passed away from an accidental drug overdose. Prior to his untimely and premature passing, Juice WRLD had become an established figure in music, delivering messages which resonated with a new generation of listeners. While I’ve never particularly connected with Juice WRLD’s aesthetic or lyrical content, I’ve always respected the path he took by earnestly and openly discussing his issues with anxiety and drug use. This review is specifically going to discuss the music featured on this first posthumous record of his, and I want to preface it by saying that I find this project more enjoyable than not. While not every song is perfect, it hurts to think that a voice so young is no longer with us, and that his loyal fanbase is left without the idol they once looked up to being around any longer. Juice WRLD was born after I was. After his and Pop Smoke’s recent passing, it’s disheartening to see so many young artists die so young.

Juice WRLD’s voice is instantly recognizable and extremely unique, and that remains a constant throughout Legends Never Die. The opening track “Anxiety - Intro” features a beautiful soundbite which becomes bittersweet to listen to when considering the circumstances this album has been released in. The sentiment that Juice WRLD has touched a new generation in the way few else could is very accurate. The following song “Conversations” features a hard-hitting bass and chilling lyrics about drug abuse which are heartbreaking in retrospect. The following songs “Titanic”, “Bad Energy”, and “Righteous”, are above-par but don’t stop me in my tracks. These are standard Juice WRLD songs, and the constant reminders of the artist’s tragedy becomes downright depressing to be reminded of at a point. I feel similarly about “Blood On My Jeans”, which doesn’t offer anything particularly interesting to me. “Tell Me U Luv Me (with Trippie Redd)” utilizes the feature here well, as Trippie Redd’s vocals pair naturally with Juice WRLD’s. “Hate The Other Side (with Marshmello feat. Polo G., The Kid LAROI)” doesn’t do a lot for me, and its short runtime doesn’t allow the track to develop into anything special. “Get Through It - Interlude” transitions nicely, though, into the following tracks on this project.

“Life’s A Mess (feat. Halsey)” feels like what could be a radio hit, and Halsey’s appearance seems logical and appropriate. “Come & Go (with Marshmello)” is an interesting track, but its blend of rock and dubstep elements don’t quite achieve what I think they were going for with this song, which reminds me of some of the duds Post Malone has dropped in the past couple of years, which prioritize experimentation over quality song-writing. “I Want It” is ambient and uses strong reverberation, but winds up forgettable to me. “Wishing Well” is a highlight on the project for me, featuring a smooth and memorable hook. “Up Up And Away” is in the same territory as some of the less impressive songs preceding it, as this track doesn’t do anything inventive or spectacular. “The Man, The Myth, The Legend - Interlude” is a respectful homage to Juice WRLD’s talent in the booth, which is a nice addition to the project’s themes. “Stay High” and “Can’t Die” take on new meanings in the album’s context, more reminders of Juice WRLD’s tragic passing. Some of the bars here remind me of Mac Miller’s posthumous release in which it seemed like he knew he would pass soon. “Man Of The Year” is almost quintessentially Juice WRLD, but especially braggadocious and upbeat. This is a great closer to an overall enjoyable album, right before “Juice WRLD Speaks From Heaven - Outro” formally closes things out in an appropriate fashion.

Overall, I think that Juice WRLD’s fans are going to be very grateful for this project. The tragic loss of such a young and talented artist is heartbreaking and disheartening, but I believe he would want his fans and listeners to seek joy in the music he was able to deliver in his short time here. This project’s best tracks are certainly worth giving a listen to as an honor of an artist gone too soon.

Thanks for reading.

Favorite tracks: “Conversations”, “Tell Me U Luv Me (with Trippie Redd)”, “Life’s A Mess (feat. Halsey)”, “Wishing Well”, “Can’t Die”, “Man Of The Year”

SCORE: 6/10