billboard BREAKDOWN - hot 100 - december 29, 2018

So look, I didn't expect this week to be that busy. We're in the middle of the holiday season, most people are settling and relaxing, and I didn't expect much activity within the Hot 100. Hell, I didn't even expect it to drop yesterday on Tuesday because normally they skip over holidays, but not only did it come out, but it was actually a pretty busy week... in a manner of speaking, because while some of this I predicted, any changes felt kind of blocky and misshapen all over, as if they weren't really supposed to happen... but did anyway.

the top ten best hit songs of 2018 (VIDEO)

So that's the next list out - okay, Billboard BREAKDOWN and two lists left to write (plus the last episode of Resonators for this season), so my work's cut out for me. Stay tuned!

the top ten best hit songs of 2018

So here's where things get hard - I already said in my last list that 2018 was a pretty bad year for the Hot 100... but was it, really? When I started putting together this list, I actually found a pretty sizable list of pretty good songs where I actually had to make some cuts. But note my choice of words: there were plenty of good songs, but very few great ones, especially if we're going to make any comparisons to previous years, and that makes the flagrant awfulness stand out all the more starkly. But to explain why... well, the bad songs were execrable results of gross trends and chart manipulation, but I honestly couldn't get too mad at the latter because if the songs were good, nobody would be complaining about it.

Sadly, this is where the second part of the album bomb conversation comes up, and how they can prove surprisingly detrimental to more than just the album itself. Sure, it might give promoters a clue how to push certain songs to become sleeper hits, but it also can burn people out on potential singles faster, and limits their chance to rise within the top 40 - you only need to look at how Post Malone mismanaged 'Candy Paint' for an example of that. And while the radio will occasionally get onboard with late album singles, in order to maintain relevance they wind up pushing the most stale and broadly sketched music imaginable to satiate as wide of an audience, which doesn't always align with quality. But what's perhaps most damaging about an album bomb is the aftershocks around it, where potentially weird or obscure tracks riding a slow groundswell might get knocked aside, especially if you're not a megastar or you're in a subgenre that doesn't get mainstream attention anyway! The one thing I could say about 2017 hits is that they brought an uncommon wealth of talent and critical acclaim to bear where they could wind up on both my list of hits and songs proper - 2018, not even close, especially when you consider how many artists disappointed or outright fell off this year.

And yet by some miracle, I've got a list of songs that debuted on the year-end Hot 100 in 2018 that I can credibly call the strongest of this year, even if they don't hold a candle to the best of, say, the majority of this decade, so let's start with our Honourable Mentions...

the top ten worst hit songs of 2018 (VIDEO)

Well, the lists start off strong - the Premiere really was fun to hang with y'all, might have to do that again soon...

Also, just addressing this here because some people are bitching about me interjecting some relevant social commentary: 

a.) if you're angry about me calling Juice WRLD a misogynist and are instead throwing out the 'he's a confused kid just expressing how he feels', otherwise known as the 'boys will be boys defense, the problem is you;

b.) Lil Dicky is not funny, and I can make the credible argument he's never been funny. And frankly, I don't care that it's been years since what Chris Brown did - I have a long memory and I don't have to forgive him or like his artistic output, and considering he references his own life in the song, I'm well within my rights to bring it in;

c.) If you think Kavanaugh's confirmation wasn't anything but a gross abuse of procedure, bastardized political flailing, a compromised investigation, and the continued enablement of the lack of accountability for rich, spoiled frat boys, maybe consider the fact that he's now on the Supreme Court, and Christine Blasey Ford can't still return home. I'll insult that beer-soaked abuse of privilege for all its worth, especially because the same dismissive defenses of him come from the exact folks who think Lil Dicky is worth defending.

Next up, the list of the best hits of 2018 - stay tuned!

the top ten worst hit songs of 2018

So I'm not going to mince words or waste your time here: 2018 was not a good year for the Hot 100. Perhaps not as bad as 2016 given how many songs were outright atrocious that year, but 2018 was not only an eventful and exhausting year, but it was one where the Hot 100 as a singles chart didn't even seem to matter. And yes, success on a manipulated ranking scale like the Hot 100 is always a bit of a shell game that most discerning artists recognize, but on some level we convince ourselves that it matters - you know, like the Grammys.

But here's the funny thing: as much as I've characterized 2018 as the year of the album bomb, where thanks to playlist payola - no jokes anymore, let's call it what it is - an entire album will overrun the Hot 100, the songs rarely last, which means when it comes to making the year-end list you run into a weird split: the streaming hits that cling to relevance just long enough, usually hip-hop and trap, and the pop- and pop-adjacent songs that receive regular radio and sales promotion that hold up long enough to weather the storm. And of course there is some overlap, but I was actually a little surprised how despite streaming hits getting so much media attention, there's still a traditional pop structure that'll get hits on the year-end list. We'll get into the unfortunate side effects of this in the next year-end list, but it is absolutely a shifting ecosystem, and there weren't many who could navigate that storm.

But make no mistake, the ability to have charting success has never been proportional to the talent of the artist, and with trap being an oversaturated mess and most radio hits defaulting to the safest possible options for relevancy in a year where Cumulus and iHeartRadio were on the cusp of bankruptcy, it was a rough year. And while I was more faintly embarrassed about the junk from 2017, 2018's bad stuff is in a different league - and keep in mind this is just the stuff that debuted on the 2018 year-end Hot 100. So let's take out the trash, starting in no particular order with our Dishonourable Mentions...

video review: 'shake the spirit' by elle king

So yeah, this was a letdown... eh, it happens?

Next up, well, let's continue burning through my backlog here, so stay tuned!

album review: 'shake the spirit' by elle king

So I'm going to say something a little strange here: I'm not sure Elle King was done any favours by 'Ex's And Oh's' becoming a hit.

Now on the surface this might sound crazy - most acts in rock, especially those who can can straddle the scuzzy lane between blues, alternative country and the indie scene, would kill for any crossover success, especially when it cracks the top 10. But that's part of my point: for a moment in 2015, Elle King seized the popular attention with a blend of retro sounds that almost screamed novelty while simultaneously plainly showing her influences, which many critics described as squatting firmly between Amy Winehouse and any slew of modern blues rockers with a fuzzy pickup and a fat groove, especially The Black Keys. But while I might be mostly fond of that blend of sound, it wasn't all that unique in the indie scene - especially if you looked towards country - and going back to her debut Love Stuff, I just wasn't as wowed as I wanted to be. Yeah, there were a few great songs - 'America's Sweetheart' was a pretty great barn-burner with its banjo - and I liked Elle King's vocal texture, but as a whole the album felt too polished and direct and the blown-out groove sections could get tiresome, and could have likely done well on the radio... in an era where there was a space on the airwaves for more than just one song from her, or indeed anything in these genres.

And given that we hadn't heard from Elle King since, I'll admit I was surprised when Patrons threw a ton of support behind her sophomore follow-up Shake The Spirit, which reportedly was trying a broader selection of sounds... which to me smacked of trying to maintain her identity while trying to recapture that retro magic again, which could be risky for maintaining cohesion. But hey, I wouldn't say no to another 'America's Sweetheart' and hopefully one of those styles managed helped her strike gold, so what did we get from Shake The Spirit?

billboard BREAKDOWN - hot 100 - december 22, 2018 (VIDEO)

Hmm, this was a tough listen - a lot of copyright nonsense to bulldoze through, but I think we're otherwise good here. 

Next up... hmm, this is a bit late, but might as well get to it - stay tuned!

billboard BREAKDOWN - hot 100 - december 22, 2018

See, this is the sort of week that could've been far, far worse if I didn't implement album bomb rules. As I've mentioned before, I had vetoed XXXTENTACION's posthumous album from my schedule because I refuse to dignify what his money-grubbing label did through its release, but it came with the acknowledgement that at least some of it would wind up on the Hot 100. But given that we have eight new entries, might as well give the album bomb rules from last week another spin and only talk about best/worst entries and anything that winds up in the top 40... which winds up making this list a lot more manageable, which is the holiday boost I can definitely use!

video review: 'singular: act i' by sabrina carpenter

So this is one of those projects where I expected backlash for the review... but I'll admit to still being surprised by it. I mean, seriously folks, you're defending this? There's so little personality and character... eh, whatever, you can have it.

Next up, we've got a (mostly) miserable Billboard BREAKDOWN, and then... well, we'll see. Stay tuned!

album review: 'singular: act i' by sabrina carpenter

So this is the sort of review I would normally consign to the Trailing Edge, except in this case I made a deal with the patron who requested it to swap this for that bloated Zayn album no music critic wants to touch - it's at least shorter, I'll give it that. And you know what, as much as it would be very easy for me to pass albums in this lane off as just another vanity project for an actress in between movies or TV pilots, but I've been surprised in this lane before - go back to Lucy Hale's Road Between, a pop-country debut that came right the hell out of nowhere and wound up as one of the best in its subgenre this decade!

And then I noticed Sabrina Carpenter's label... and then listened to her two previous albums... and consequently got a distinctive sinking feeling. Yeah folks, you all might know Sabrina Carpenter as once having one of the starring roles in Girl Meets World, but her music which has taken up a surprising amount of her schedule is exactly what you'd expect coming out of Hollywood Records: the sort of sterile, underwritten, badly produced pop pablum you'll hear chasing the trends and barely having any distinctive identity. I'm normally inclined to just call these vanity projects, but Sabrina Carpenter seems to have placed a lot of stock in these albums, along with a lot of her own writing credits... probably not a good thing, because the production is mediocre and trend-chasing at best and I wasn't impressed by her vocals or her songwriting. That said... look, it's twenty five minutes, it's eight songs, it can't be that bad, right?

video review: 'dying star' by ruston kelly

So yeah, got to this WAY too late, but it's concentrated fucking wonderful. If you haven't heard it and need to plug a spot on your year-end lists... well, what are you waiting for?

Next up, though... yeah, it's not winding up on ANY lists, so stay tuned!

album review: 'dying star' by ruston kelly

So look, I had my reasons for not getting to this for a while.

Yes, I had seen some of the critical acclaim, I had heard the hype from folks in my circle... and I'll admit the naturally suspicious side of me was overruling all of it. For those of you who don't know, Ruston Kelly is an indie country artist who put in a lot of work as a songwriter behind the scenes for the Josh Abbott Band and Tim McGraw before releasing his EP Halloween last year, which got him a deal on Rounder and the traction for this debut as well. What some might know him better for, though, is his high profile marriage to Kacey Musgraves, who with the critical acclaim and major Grammy nominations for Golden Hour is having a banner year of her own. And yes, fairly or not that did mean I was naturally suspicious of any of the critical hype, especially given that some of his recent career traction was likely driven off that connection - hell, her backing vocals are on the album! Nevertheless, given that he is still independent, the hype hasn't quite translated to commercial traction in the same way outside of rave critical reviews, and even then there are a few indie country outlets that seem wary of him, so I figured I might as well give this a chance, so what did we get on Dying Star?

video review: 'CARE FOR ME' by saba

Man, this... has actually turned out to be not as controversial as I was expecting. Huh, nice to see.

But next up... man alive, I'm so damn happy I knocked it into production by executive order, this thing is something special - stay tuned!

album review: 'CARE FOR ME' by saba

Well, this has been very long in coming.

And indeed, Saba is a name that's been on my radar for some time, even despite the fact it has taken months for his album to ascend my schedule. He's loosely affiliated with many of the indie acts in the Chicago scene that I've covered - he's shown up on Chance The Rapper's Acid Rap and Coloring Book, Donnie Trumpet's Surf, and he and Noname have traded guest appearances on each other's respective projects - and while he built a fair amount of buzz off a few mixtapes, he first came to my attention proper with his 2016 debut Bucket List Project. And for the most part I did like it, but I wouldn't say it was something that really resonated with me as much as I'd like, because for as versatile as Saba was as an MC, he definitely wore his influences on his sleeve. Sure, detailed flair to his writing and he had good taste in instrumentals... but I'd struggle to say I was in a huge hurry to come back to it, and it was tricky to pinpoint why. Maybe the songs just weren't quite there yet or he hadn't quite refined his unique voice, but I did figure that'd likely come on his follow-up. And given the critical reception that CARE FOR ME has received, I had every reason to believe this would be great, so what did we get with this?

video review: 'hill climber' by vulfpeck

So yeah, this was a mess... not my thing either so I expect the backlash, but eh, it happens.

Next up... yep, let's finally talk about SABA here - enjoy!

album review: 'hill climber' by vulfpeck

So here's something a little alarming about my job as a critic, and I'll walk you through the scenario. Say you're given a band, primarily promoted through Bandcamp so you'd assume they'd be a small-to-midsize act, and you've never heard of them. Fine enough, that's not uncommon if they're a step outside the mainstream or never have gotten Pitchfork coverage, so you start digging through their back catalog... only to discover that this band might be a lot bigger than you could have expected, with collaborations with named critical darlings and a social media presence that might actually guarantee an audience for the review... made all the more awkward by the fact that you really didn't like what you heard going through that back catalog!

And yes, this was my experience with Vulfpeck, an American funk act who broke out in the 2010s and have quietly been pumping out albums throughout the decade. And when you see the list of session players who have worked with them, it's a little astonishing that I hadn't heard of them sooner. Indeed, I can imagine some audiences are more familiar with how they were backing Darren Criss on his 2013 tour than the fact they had worked with Bootsy Colins, Bernard Purdie, and David T. Walker. Of course, if you're in the music industry you probably know them for having trolled Spotify in 2014 by putting an entirely silent album online in order to game streaming, which got them about twenty thousand dollars before the album got pulled, but in all due honesty, there are points I'd prefer to listen to that than their larger recorded output. Yeah, this is where things get awkward because I would struggle to say I'm a fan of Vulfpeck at all: limp production, underwhelming vocals unless they pulled up a credible guest, and with generally embarrassing lyrics that might just wind up as some of the most safe and sterile attempts at funk I've heard in a long time. Yeah, the playing is good, but with no edge or intensity or sense of greater texture, it got grating fast, and when you couple it with their social media presence which makes it hard to tell if they're a joke act that just so happens to have a few ringers who can play really well... well, that's not the sort of act I really feel the need to cover. That said, they slowed things down significantly for their album last year - it was more limp and boring than actively grating like The Beautiful Game was but at least was tolerable - but this new album has gotten some good reception, so what did we get from Hill Climber?

billboard BREAKDOWN - hot 100 - december 15, 2018 (VIDEO)

And here we go - man, I look exhausted filming this, but thank god I got some sleep coming through.

Next up... ugh, this'll be frustrating to handle, so just stay tuned!

billboard BREAKDOWN - hot 100 - december 15, 2018

...you know, I'd call it funny if I was anyone else. See, I predicted last week that Meek Mill would have have something of an album bomb - he's had two already just in the course of me covering the charts, and I expected given the hype there'd be another one here, especially given some of his critical acclaim... but the Spotify numbers didn't seem that huge and it's not like he'd get sales or much radio. So imagine my extreme exasperation when not only did we get fourteen new Meek Mill songs, we also got a mini album bomb from Lil Baby - an artist I thought we could leave behind, preferably by the side of an abandoned road - and a sizable set of new arrivals, bringing our round total up to twenty-seven new songs for this week. All right before the holidays while I still work fulltime in the middle of trying to wrap up multiple year-end lists with a tighter schedule than any other year prior because of real life constraints. So yeah, screw it, album bomb rules are in effect, albeit revised from their original outing from Tha Carter V given that I'm not reviewing Meek Mill's new album formally - as if there'll be much to say - but with the suggestion taken from you all that the only songs I cover are his breakthroughs in the top 40 and any that would wind up as the Best/Worst of the week. That still comfortably gives me over a dozen new entries, and if anyone wants to complain about that, especially given Meek Mill is under Atlantic which is under Warner and that means this video will likely wind up copyright claimed and I won't get a dime from it, you go produce 200+ episodes of a twenty minute weekly series with a day's turnaround time on your own for over four years, and then get back to me. 

movie review: 'creed ii' (VIDEO)

And now I've caught up on everything... time for whatever's left in the year, so let's see what happens - stay tuned!

video review: 'a brief inquiry into online relationships' by the 1975

Well, this got the backlash I was expecting... eh, it happens.

Next up... well, one more post first...

album review: 'a brief inquiry into online relationships' by the 1975

You know, it's a common trope among movie critics that most sequences involving computer hacking tend to suck, because not only do most filmmakers not know anything about hacking in the real world, you're trying to add tension and gravitas to what is, for the most part, just people writing code and running scripts. And while I'm fairly certain other music critics have made a similar comparison, I want to drill into one particular point: I'm really goddamn sick of artists making songs and albums talking about social media. Yes, it can be a toxic waste dump of bad opinions, spam, stupidity and let's not forget the Nazis, but as a whole I still view social media as, if not a net positive, a powerful force in the modern age to be used for good or ill, and as a tool it doesn't make for good subject matter if the person beneath it isn't interesting or compelling. 

Granted, I'm also coming at this from a technical background and a higher-than-usual level of impulse control when I'm not making hot takes or livetweeting from the metal bar or karaoke, but I think my point stands in being able to shine a light upon a worldwide community with the possibility to give a megaphone to anyone - and like any other tool or mode of communication or entertainment, it has its limits and failings and the potential to bring out the worst in people. So while I'm not surprised artists like to target social media in their technological dystopia themes, I rarely see a level of realistic insight that doesn't feel short-sighted or hectoring or technophobic in a really crass way, especially when said acts are going to turn around and use said social media for promotion for their next project. And thus I think I can be forgiven for being skeptical of the newest album from The 1975, with the loaded title of A Brief Inquiry Into Online Relationships - not only did I hear whatever remaining rock element had been sanded away, I heard it was taking some thematic leaps into this territory. So in other words, I didn't have high expectations whatsoever, so what did we get with this?

video review: 'some rap songs' by earl sweatshirt

Well, this was... tough to talk about. And since I'm not lavishing it with praise I expect there to be backlash, but whatever, I can handle that.

Next up, though... The 1975 - stay tuned!

album review: 'some rap songs' by earl sweatshirt

So I've always struggled a bit with how to properly evaluate Earl Sweatshirt - or indeed, how much I can call myself a fan. Don't get me wrong, I've scored both of his albums thus far highly, I think he's a great rapper with a powerful knack of distilling complex ideas down to aggressively concise ideas and he has a knack for honest introspection that rarely gets the credit it deserves, especially given his origin within Odd Future... but I'd struggle to say that I've revisited much of his work outside of a few songs, and his very limited presence in the hip-hop world at large always gives me the odd feeling I could be hearing much more from him... and yet I don't. 

And thus it was with a little trepidation I was approaching Some Rap Songs - his first album in over three years and his shortest to date, clocking under a half hour, it nevertheless has already gotten a reputation for being a pretty dense and experimental listen at that length. And... honestly, I wasn't sure how to take that, as wild experimentation in tone and production hasn't really been a thing for Earl - he's favoured dusty, stripped back, usually very dark beats so I didn't really have a gauge for where he'd take this. I did know he had lost his father and a close family friend who he considered his uncle earlier this year and Earl has always had a complicated relationship with his family, so I expected that subtext to loom pretty heavily, so what did we get with Some Rap Songs?

video review: 'what is love?' by clean bandit

Overall a little surprised I had enough to say about this thing... but hey, it happens?

Okay, Earl is up next - stay tuned!

album review: 'what is love?' by clean bandit

So this is the sort of review that I have no idea why I'm making - well, at least beyond the most cynical of responses, which is that Clean Bandit have several songs that have attracted a lot of attention and this'll likely wind up getting traffic for relatively little effort on my part.

But is that a fair assessment, especially given how many singles worldwide Clean Bandit have notched with a more distinctive blend of tropical elements, classical strings, and grooves that don't feel beholden to overweight trap percussion? Well, yes and no - I'll admit I've never really loved a Clean Bandit song - they have a weirdly pristine but fussy nature that can come across as oversanitized and underwritten, and I include 'Rather Be' in that category - but I wouldn't say I dislike them either. Yeah, the personality of any given song is more dependent on their guest stars and to expect a cohesive album is a crapshoot, and it's hard not to feel like a lot of their music is custom-designed for department stores trying to sound hip... but they can land some good melodies and while their first album didn't impress me at all, maybe their follow-up would be okay... even if it feels like I've already heard a significant chunk of it. Yeah, that's the other thing about reviewing an electronic project like this, the albums feel more like singles compilations - but hey, that's normally the formula for great pop albums so I'm not going to hold it against Clean Bandit here, so what did we get on What Is Love?

billboard BREAKDOWN - hot 100 - december 8, 2018 (VIDEO)

So hmm, I'm not sure this'll get all the way past the copyright bullshit, but this is a new tactic I'm trying, we'll see how it goes - enjoy!

billboard BREAKDOWN - hot 100 - december 8, 2018

So I've talked before about deceptive weeks on the Hot 100, where there seems to be a lot of activity at first glimpse before a closer look reveals a more stable week - and I think if that assessment is appropriate for this week, it's entirely coincidental, a culmination of three stories that all seem to either cancel each other's impact or will be rendered irrelevant by the next week. Somehow this also wound up giving me a second shorter week, so I'm not complaining, but it's still worth pointing out.

video review: 'the pains of growing' by alessia cara

So yeah, I really wish that I could like this more. I mean, it's not bad by any stretch and I'm still rooting for Alessia Cara, but man, this should be better.

Next up... honestly, not sure, but I've got Billboard BREAKDOWN next, so stay tuned!

album review: 'the pains of growing' by alessia cara

I can't help but find it a bit strange that going into this review, I was rooting for Alessia Cara.

And let me make this clear, I've been at least trying to be on her side since 2015 and the influx of Lorde-wannabes in which she came up - I'd certainly prefer her to Halsey or Daya, that's for damn sure. But Alessia Cara's success has frustrated me, because as much as I liked her breakthrough single 'Here' and her follow-up 'Wild Things', I had the sinking feeling that given the success of 'Scars To Your Beautiful' and her feature on Logic's suicide hotline song, that would be the direction Def Jam would shove her in. Yes, she had won the Grammy for Best New Artist off those singles, but that award can be the kiss of death for a lot of new acts, and poor management has destroyed more promising pop artists than bad albums. 

And I can't stress how much I didn't want that to happen, because I've always been convinced that Alessia Cara was a more interesting and vibrant personality and songwriter than just churning out self-esteem anthem pablum, and given how rushed Know-It-All felt, I had to hope that her follow-up would show more refinement, especially as her competition had gotten stiffer with Lorde's resurgence and the striking rise of Billie Eilish. Yeah, I'd still prefer to listen to Alessia Cara than Camila Cabello or Halsey or especially Bebe Rexha, but this project had to stick the landing. And by all accounts it could - Alessia Cara had taken a much bigger writing and production role with her sophomore album with no guest stars, and major labels don't tend to offer that freedom unless they've got faith in the release... or are looking to cut their losses by keeping the team and budget as small as possible. And I didn't think it was the latter case here - Know-It-All had moved a lot of units on the back of Alessia Cara's writing - but I was cautious about The Pains Of Growing, so what did we get?

resonators 2018 - episode #011 - 'earth a.d./wolfs blood' by misfits (VIDEO)

Nearly forgot to post this - but yeah, bit of a frustrating review to put together for Resonators. Eh, it happens.

Next up, time to catch up on a slow weekend where I wasn't doing much - stay tuned!