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\nHouse Shoes knows how to make great hip-hop music. For years he\u2019s been a relentless ambassador for Detroit by releasing the art of his comrades, and as a DJ, breaking records to a wider audience (who now, more than ever, look to the D for innovative and honest hip-hop). With \u2018Let It Go\u2019, his first solo release, House Shoes steps into the spotlight.
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While the album is rooted in a traditional and familiar sound, it\u2019s refreshing to see a producer execute with such confidence. In some regards, the production may be what you\u2019d expect, but when you associate this producer with his peers (like J. Dilla, Black Milk, etc.) you know you can count on a high level of quality.<\/p>\n

House Shoes proves his ear for production by enlisting artists who both compliment his compositions and each other. Tracks like \u2018Dirt\u2019 (featuring Oh No, The Alchemist and Roc Marciano), \u2018Crazy\u2019 (featuring Black Milk and Guilty Simpson) and \u2018Last Breath\u2019 (featuring Nottz, Oh No and MED) are obvious proof. While delivery of all the features is on-point (Danny Brown on \u2018Sweet\u2019 is particularly tough), the magic of \u2018Let It Go\u2019 is best communicated by his collaborations with lesser-known artists. Stand-out joints include \u2018Time\u2019 (featuring Big Tone) and \u2018Goodfellas\u2019 (featuring Moe Dirdee).<\/p>\n

No doubt Shoes\u2019 has a heavy roll-o-dex, and could have brought on a full roster of recognized and more-easily-marketed rappers and singers, but he didn\u2019t. I can only assume this is thanks to the true DJ in him, taking the responsibility upon himself to school us on something new and exciting, and I thank him for it.<\/p>\n

House Shoes\u2019 production style is raw, soulful and simple. His influences peek out through the samples and between each hat, snare and kick. \u2018Let It Go\u2019 is a great piece of music and something he should be very proud of.<\/p>\n