House Shoes’s long awaited debut album “Let It Go” is finally in stores today via Tres Records. The album is entirely produced by the Detroit to LA producer, and features guest appearances from Danny Brown, Black Milk, Oh No, Alchemist, Roc Marciano, Quelle Chris, Guilty Simpson and many others.

In celebration of his album release, enjoy the official music video for the song “Time” ft. Big Tone. “Time” was also featured on “The Time” EP and the video was directed by Mario Butterfield.

Furthermore, you can also check out this in depth interview with House Shoes courtesy of Ruby Hornet. Shoes breaks down his history of being a dot-connector, watching the growth of Mayer Hawthorne and Danny Brown, and the Detroit hip hop community.

Coming from Tres Records is Big Tone’s latest video, taken from the Detroit artist’s forthcoming second LP, The Art Of Ink. Dwele’s on horns, with help from Zo!, who adds instrumentation. People slept on Tone the first time around, but heads should take a second look, especially when quality labels like Tres – and ABB before them – have invested in him.

    Automatically, when one mentions they are from Detroit a few thoughts run through the mind. One of them is “another Detroit emcee?” The other is “I wonder if he is as dope as Elzhi, Eminem, Royce 5’9″ and the rest?” Well, with The Drought those questions are answered along with giving you an idea of who Big Tone is. Or better yet who Big Tone isn’t

    Big Tone definitely isn’t D12, but is eerily close to the whole Slum Village aesthetic. Take “One Hour Session” and many will be wondering “Why wasn’t this song on the Slum Village album?” The answer: Because it ain’t Slum Village… but it damn sure sounds like it. The Drought feels as if it swallowed certain aspects of past and present S.V. and regurgitated it. “Watch Me” is pretty solid, but just isn’t a cut above the others from the ‘D’.  As an emcee Tone is extremely average. Far from wack and far from incredible, Big Tone is just listenable. He never really kills the vibe of the song, but also never brings forth that certain energy you are looking for.

    The album is entirely produced by Big Tone, which isn’t such a bad thing. Even though it seems as if Tone yanked a few pages out of J Dilla’s beat making hand book, you can’t really complain with the direction of the music. Although some songs like “Girl” are pretty bland, others such as “Good Ole Days” vibe well (even though the ‘back in the days’ cut has been bled to death). “Peace” also thumps along with a emphatic vocal sample backing one of Tone’s best lyrical outings on the album.

    By the time The Drought ends, many will be thinking “Gotdamn, this is the most average album I have ever heard!” It’s not really an ear sore, but you probably will shuffle it away after a few listens. The Drought’s biggest drawback is that even though it is supposed to be his Reasonable Doubt and Illmatic, it sounds more like Slum Village’s tracks left on the cutting room floor. More imitator than originator (and in all fairness through no conscious fault of his own) Big Tone’s debut falls short of his own comparison and that’s a lesson to you kids out there. Never compare yourself to a classic. You can only go downhill from there.