Masterpiece Theater: Sometimes I Might Be introvert - Little Simz: Review
Little Simz
is a London rapper who has spent over a decade both acting and rapping, dropping a number of albums, mixtapes and EPs of various hip hop styles. Her critical breakout came on 2019's GREY Area a sleight collection of reserved rap bangers that drew critical acclaim across the board. Sometimes I Might Be Introvert is the records follow up which nearly doubles its tracklist length and runtime employing much more orchestration in the instrumentals as well as a grander narrative concept.
Review By Lav:
I had heard of Little Simz in passing a number of times across my first few years of doing this through her collaborations with Joywave, Gorillaz and Alt-J. But on 2019's GREY Area she displayed a fantastic mastery of flow and consistently creative lyricism that impressed me quite a bit, even if the songs themselves didn't always see it through. I was incredibly excited for her follow-up after hearing the teasers and reading some of the press she's done in the lead up. I came into the record knowing that it had a conceptual vision, grand instrumentation and would be her most personal release to date. Coming out of the record I have to say, she was underselling it. The instrumental palette is as immense and versatile as I've heard on any record this year and is deployed perfectly. Simz not only wears her heart on her sleeve but does so in a way that develops thematically throughout the record making for a meaningful journey. And as a full listening experience these songs are consistently remarkable throughout, yet manage to be greater than the sum of their parts painting the picture of a profoundly talented, occasionally troubled and always brilliant artist. Strap in, because Little Simz Sometimes I Might Be Introvert is a masterpiece.
This record uses its tracklist in a remarkable way that gives the runtime meaningful development and insight into Simz troubles from beginning to end. Everything about the record is set up flawlessly by its larger than life opening track Introvert. I loved the song as a single and I'm even more enamored with it here. It starts with a grand and dramatic instrumental build before transitioning into an equally robust beat over which Simz muses on the mistakes of her past and the cultural history that crafted her. She also touches on the records theme of introversion, a subject she will spend the entire album returning to. It's a remarkable opener that sets up everything about the record from its lyrical themes to its sonic palette. But even beyond that it is just an unbelievably good song.
The record is truly a journey where Simz learns to overcome her introverted personality and the major shifts of tone on the record are marked by impactful interludes throughout. To start the album off Simz introduces us to the introvert concept and then spends a handful of tracks giving backstory and context to its origins and how it's helped or hurt her in the past. I Love You, I Hate You is another stroke of pure genius that sees Simz contemplating the complicated feelings she has towards her mostly absent father. The instrumental is an absolute tour de force with an amazing vocal sample and a rising arrangement of drums and backing vocals that shift the dynamic of the song throughout in brilliant ways. Little Q Parts 1 & 2 continue to add backstory to Simz with a story about her cousin told in two parts. The first is a short spoken word piece from Q himself before the beat expands into a full song which Simz raps through his perspective. The draw of the song is the wonderful contrast of the gruff street poetry she is spitting and the bright instrumental complete with a children's chorus. It's a proven hip hop staple and it's executed perfectly here alongside Simz excellent story-telling.
Woman is a fascinating tribute to women, specifically black women. Across three verses and a fluttering Cleo Sol hook Simz tells stories of different women from different backgrounds while managing to build them up without having to tear anyone down in the process. It's anthemic, smart and incredibly graceful in a way I can't get enough of. Two Worlds Apart is the most lowkey of the records first run of songs with a beautiful Smokey Robinson sample that sounds like some 2000's rap instrumental bliss. Lyrically Simz is laser focused despite the reserved demeanor and it helps the song fit in perfectly despite having no real hook. Her flows are so smooth that everything on the song sticks with you the moment you hear it.
Gems represents the first thematic shift on the album and introduces us to the fairy godmother type character that shows up a few more times. It does all this over a fairy tale style musical reprise that sounds like something I could have heard on the Spellling record earlier this year. On her brief appearance on the track Simz lashes out at the voice and expresses the difficult circumstances she finds herself in mentally, which translates into the albums next run of songs.
Speed kicks off with an absolutely irresistible drum pattern and some uncompromising bars. She spends two pretty substantial verses flexing her accomplishments and stomping on all her doubters with the poise of someone whose been doing it for a very very long time. Standing Ovation shifts the sonic palette back in a jazzier direction with a huge instrumental arrangement backing Simz larger than life performance. The song also goes through some remarkable compositional shifts that only reinforce the grandiosity of Simz achievements. In spite of all this her lyricism manages to star grounded and focused throughout.
I See You is the crown jewel of the section as Simz dials it back to nearly a whisper to really reflect on her introversion and how it effects her relationship with the person she loves to whom the song is addressed. Cleo Sol once again shows up on the track and delivers a beautiful hook that fits flawlessly with the quiet nature of the song. This leads into The Rapper That Came To Tea another interlude that addresses imposter syndrome and Simz feelings that she may not belong where she is. The metaphor of the tea party shows displays her introversion in a new light as it relates to her career. While this isn't expressly stated anywhere on the record I think the thematic implication of the interlude and this whole section of the record is for Simz to return to the sounds and places she feels most comfortable and feels like she most belongs.
This starts with Rollin Stone a rumbling banger straight out of GREY Area. It features rapid fire bars with tight flows and lyrical gymnastics that should be impressive to hip hop fans of any level. It also has a slick beat switch-up into a much eerier second half. The song is a bit out of place on the record sonically but not as out of place as Protect My Energy, a synth wave song that comes out of nowhere sounding like something you'd hear on a Toro Y Moi record. The track also stands out compositionally featuring a number of short versatile refrains that make up it's three minute runtime. Both of these tracks are pretty major shifts in just about every facet of the record up to this point but I still really enjoy them both.
The next pair of tracks seem to address Simz's African heritage head on both instrumentally and thematically. Point And Kill has an amazing groove and an even better feature from Obongjayar. First things first I have to mention that he and Simz have more chemistry than I could have possibly ever imagined and vocally the compliment each other performances perfectly. It makes for a slick tribal song with an instrumental dexterity that most rap instrumentals would absolutely kill for. Fear No Man is another instrumental I'd describe as having tribal sounds but in a much more lively and upbeat way with Simz sounding like a charismatic band leader over top of it all. I love the chanted hook and how it contrasts with Simz much more direct verses and the whole song is yet another example of compositional brilliance.
The Garden is the final time we hear from the character that I insist on referring to as the fairy godmother and it's also where she is the most direct. By this point she has finally helped Simz allow others into her life, being vulnerable and showing herself to the important people in her life. It's a triumphant moment on the album that changes its thematic direction to a much more happy and content place.
On How Did You Get Here after learning how to open up to others Simz opens up to the listeners about how she became the woman she is today. The song features a chorus that sounds straight out of Sunday Service and makes lyrical references to old notebooks full of rhymes and shooting low budget music videos. The song plays the story of her come-up heavy on details and paints a truly triumphant picture of her success. It's a lyrical magnum opus and one of the albums most remarkable achievements. Finally the closing track Miss Understood sees Simz proving she hasn't lost a bit of her lyrical creativity, if anything she's gotten even sharper. The track is a treat overflowing with witty lyricism as Simz shifts her approach to her own current day status as a musician and as a person. Her final verse on the record breaks down the struggles she has integrating her worlds of family and business together. It ends on a hopeful note and she seems like she genuinely believes everything will work out okay for her.
Is Sometimes I Might Be Introvert the single greatest album of all time? Probably not. But if you put a gun to my head and asked me to list any way to improve it, I'm not sure I could come up with anything. On an individual level these songs are instrumentally and compositionally magnificent jumping between sounds and style with ease and never missing a beat. The arrangements work brilliantly to highlight and reflect the lyrical developments Simz makes throughout the album. And while we're on the subject of those lyrics Simz really establishes herself as being truly a cut above her contemporaries showing off an ability to be cold, focused and uncompromising but also the dexterity and vulnerability to be personal, immeasurably charming and most of all effortlessly genuine.
But looking as this record as a full 65 minute experience really shows you how special it is. From the dynamic interludes that guide you through the emotional developments to the lyrical content which reflects meaningful shifts and evolutions in Simz as a person and an artist throughout. Listening to the album in its entirety takes you through her transformation from isolated, almost paranoid thoughts into someone who isn't afraid to be themselves and put trust in others to live a fuller life. The journey is a fascinating one that so few albums are capable of truly pulling off. Everything about the record is excellent, unique and timeless. While amazing rap albums come out on a yearly basis these days, Sometimes I Might Be Introvert is an all time great and one we will be talking about among the pillars of hip hop for a very long time. 10/10
This cover is nice. The continuous color scheme and concept in the photo is well done. The photo itself is a little dark and I would've brightened up the subject or alternatively made them more in shadow. The way it is now seems more like a poor lighting choice rather than a well thought out decision. I like the banner text and bar that helps balance the heavy lower half. 6.5/10
For more great rap read my review of Backxwash's I Lie Here Buried With My Rings And My Dresses here
