video review: 'chime' by dessa

I think I stunned a couple people with the score I gave this one... hell, I even went back to the others I scored the same to check to see if it deserved to be on the same pedestal. But the truth is that I couldn't find a problem with it - every song sent a chill down my spine, the sonic themes meshed perfectly, the emotional throughline was wonderfully balanced, and the writing is top-of-the-line, analytical but never sacrificing the emotional core. This is the album to beat in 2018, and really, it deserves the score.

Next up, Billboard BREAKDOWN - stay tuned!

album review: 'chime' by dessa

So I've covered a lot of truly excellent records in February... and I can't help but feel it's all been building up to this, the newest, long-awaited solo release from one of my favourite-ever MCs, most notable for her work in the Doomtree collective but also for the diverse, genre-twisting blend she brought to her own work...

And yet I'll admit I was nervous about this, mostly because Dessa's solo work is very different than the fire she typically spits with Doomtree. I might love A Badly Broken Code as an underrated near-classic, but it's meditative and restrained in an uncanny way, and certainly took a lot of listens to grow on me as much as it did. And her 2013 follow-up Parts Of Speech, even though that record made my year-end list, it was a pivot towards more R&B and less hip-hop, and I was a little unsure whether it played enough to her strengths - she's an absolutely excellent rapper, but not quite as expressive or potent as a singer. And thus when I heard that her newest project Chime was pivoting even further, moving closer to mainstream-accessible pop... well, it's not like I couldn't have seen it coming, given her contributions to The Hamilton Mixtape and her own wild creativity to be more than just a spitter, and I was sure there was bound to be real density and punch in the content, and it's not like Lazerbeak or Cecil Otter would steer her astray on production - okay, maybe I was worrying too much over nothing, I'll admit it. But again, Dessa is an all-time favourite MC of mine, I really wanted this to be amazing, especially given some of the critical buzz about this release and that she had brought in Andy Thompson to augment her sound with more classical elements... so, what did we get on Chime?

video review: 'little dark age' by mgmt

Well this was... genuinely kind of awesome, I'm really happy to actually get on board with MGMT here for a pretty damn fun record! There's flaws, of course, but it's still really damn solid and I'm happy that for once I can join the crowd on this!

Next up... hmm, something from deeper on my backlog or an indie country project, we'll have to see, so stay tuned!

album review: 'little dark age' by mgmt

I remember vividly the last time I covered MGMT.

Now most of you probably don't - that was very early in my critic career on YouTube, before I even had a proper camera, and thus me taking a pretty lukewarm at best stance on a critical darling band got me a small but significant backlash... even if history seems to have proven me right on this. Part of the problem is that I've never really been a huge MGMT fan: there were some great moments on Oracular Spectacular, Congratulations has only warmed on me in recent years and it's probably underrated but I still wouldn't call it great, and in contrast I've only soured on the self-titled record more and more. Part of it was the return of producer Dave Fridmann continuing to embrace his blown-out, more compressed sound that he worked to far greater effect with The Flaming Lips that same year on The Terror, but a larger part of it was the sense that MGMT were falling towards a bait & switch trope in psychedelia I've never really liked. I get the appeal in using that quasi-surreal gloss for something dark and twisted beneath it, but it's like a lot of shock-horror, it doesn't have the same replay value for me, especially when the tunes just didn't coalesce. l said in that review that MGMT were continuing on a path to alienate their audiences, but the truth is that they just weren't playing to their strengths: they had a great knack for hooks and the willingness to embrace weird textures and ideas, and when you compromise the former to indulge more of the latter... well, it doesn't always help you.

And thus I found it really interesting that five years later it seemed like MGMT had pulled a 180, teaming up with Patrick Wimberly of Chairlift and Ariel Pink - another guy who can struggle to hold the right balance between texture and phenomenal hooks - to make more of a synthpop release! And hell, while I like psychedelia, this sounded so much up my alley I really wanted to check it out before now! So, what did MGMT deliver on Little Dark Age?

video review: 'i can feel you creep into my private life' by tune-yards

I'm not going to lie, I didn't really expect to like this... but I do think the conversation got interesting, and if anyone is going to claim I'm a blind SJW... well, yeah, that was never the case, and this is a hefty stack of evidence. 

Next up... whoo boy, this'll be a tough one, so stay tuned!

album review: 'i can feel you creep into my private life' by tune-yards

So I have a... let's call it complicated relationship with Tune-Yards, and I'm genuinely surprised the group is not more controversial among some circles. For one, if you're looking for a band that embraces a very pronounced social justice angle in their themes tune-yards will deliver, but dig a little deeper and you find a scattershot approach to songwriting that doesn't always do those ideas justice. And that's before you get the cultural appropriation conversation that has hovered around their aesthetic and production despite how you'd think graduates from New England art schools would know better. Or to put it another way, I don't think WHOKILL or Nikki Nack would have gotten nearly the same critical acclaim if they were released today in comparison to 2011 and 2014, and while I find the backlash against SJWs incredibly tedious and overdone, I'm self-aware enough to enjoy shots at Lena Dunham when she rightly deserves it, and Tune-Yards aren't far behind.

Now while I brought up all of that in my review four years ago, the larger truth is that I haven't given Tune-Yards much thought at all, mostly because they never brought any significant edge or potent melody to their sound that would draw me back. I got why a lot of critics liked them, but they were never really my thing and thus I was prepared to skip over this project altogether... until I heard two interesting revelations. One, frontwoman Merrill Garbus apparently rediscovered a love for house and disco music in the past four years, so there could be more of a defined melody to these tunes - and two, apparently those cultural appropriation comments got to Garbus and there were points where she overcorrects, and you can bet I wasn't going to miss a chance to riff on some of that! But I'll save that for the review - what did we get on the oh-so-awkwardly titled i can feel you creep into my private life?

video review: 'blue madonna' by BØRNS

Well, this should be way better than it is... gah, it happens, I guess, but still, I'm not sure that Lana influence is doing him any favours.

Fortunately, the next act uses all his momentum to fantastic effect even if the project is short, so stay tuned!

album review: 'blue madonna' by BØRNS

The more I think about BØRNS as an artist, the more I get the impression there is less to think about than I'm assuming, that he's actually less interesting than he might appear. 

Granted, some of this is not helped by me covering his debut Dopamine a full year after it was released for my anniversary in 2016, where he felt all the more out of place in the larger context of the year. But even with that there's a part of me suspicious that the image and flair was more compelling that BØRNS himself would ever be, considering he didn't quite play to his strengths as a singer and he had a bad tendency to indulge in production gimmicks and lyrics that felt increasingly hollow in their hyperstylized Americana, especially considering there was often a rock-solid glam and pop rock core to many of his compositions. It was a good project, but it's not one I found all that memorable just a year and a half later.

And thus I was skeptical about Blue Madonna - I drew comparisons to him sounding a little in his delivery and content and production like Lana Del Rey, and look who has two guest appearances on this project! And when you consider he pruned away all other producers and cowriters besides Tommy English, it was hard to avoid the feeling he might be doubling down on influences that didn't always flatter him, but could result in a more focused experience overall. And hey, Lana Del Rey has steadily been getting more tolerable, maybe this would be pretty stylish or fun, right?

video review: 'MASSEDUCTION' by st. vincent

And then there is this. You know, I thought this might be a little more contentious than I expected, until Fantano put out his review and honestly echoed many of my criticisms. Huh.

In any case, Billboard BREAKDOWN is coming up next!

album review: 'MASSEDUCTION' by st. vincent

I often feel like using the word 'evolution' to describe Annie Clark's ongoing career under the name St. Vincent isn't quite accurate. I think 'mutation' is the better word - and believe it or not, that's a compliment! She may have started in the more poised and polished realm of baroque pop with tasteful strings accenting her admittedly unorthodox style of guitar work, but as early as Actor things started to shift. The guitars got more processed and blocky that somehow still managed to support potent melodic grooves, the strings began giving way for synthesizers and tones that felt all the more alien, and while her voice kept its same ethereal quality - for the most part - the content and its connection to the human experience was contorting into something more primal, for lack of a better word. Oh, the empathy, complex framing, and willingness to bend taboos was always there, but its mode of expression was warping into something less and less recognizable, with the compositions and framing maybe losing a bit of their populism but opening up new depths of sound for her to explore.

And I'm a fan of it - a pretty big fan, actually. I'd still slot Strange Mercy as a shade stronger than the self-titled release just in terms of overall consistency, but with songs like 'Psychopath', 'Severed Crossed Fingers', 'Digital Witness' and the absolutely mind-blowing 'Bring Me Your Loves' St. Vincent was making a case for the more twisted sonic adventures having potential that was just as rich and promising. And considering that her newest record MASSEDUCTION was looking to be going even deeper in a thematically dense direction, I was most certainly curious where the hell she'd take this. So what did I find on MASSEDUCTION?

video review: 'poppy.computer' by poppy

So this was cute. Fun record too, really happy I covered this.

And now onto something just as cute in its own way... ;)

album review: 'poppy.computer' by poppy

You know, it's very tempting for me as a YouTuber to start this entire review with a Poppy spoof. The washed out aesthetic and slightly offkilter delivery, full of fragmented non sequiteurs, internet soundbites and memes, the sort of layered satire of pop stars in the age of internet culture directed by Titanic Sinclair which has blown up into something I'd need the next hour to fully deconstruct and explain. To reveal more would be to strip away some of the charm of the original videos which you should all watch, but suffice to say, for the most part, I'm a fan of Poppy as an internet personality.

But I'm not reviewing an internet personality or a meme - I have enough trouble keeping reviews monetized as it is - I'm talking about the music, of which Poppy has touched since the very beginning with covers and eventually original songs that would leverage some of the satire against a technocolor backdrop. And while I've liked her pop music, I've always had my concern that her online persona would overshadow her records, that she wouldn't quite be able to capture the subtle twists and potency of her videos. Now you have to wonder if she'd even bother to try in some cases - around this time last year she released the ambient project 3:36 (Music To Sleep To), and despite certain eerier textures it was far more abstract than her usual content - but it also felt more like a digression, not the blur of k-pop, dance punk, and electronic synthpop I expected we would get on her debut. So okay, what did I find with Poppy.Computer?

video review: 'all i ever see in you is me' by jillette johnson

You know, this is one of the vids where the prospects were never good - even if I wasn't months late it'd still be a tough sell to get to a mass audience, she's pretty underground...

But with YouTube dicking over the sub boxes for this as well, I'd still like to see it get some traction, so I'd urge you all to check it out.

Thankfully, I've got some content coming that should boost my fortunes, so stay tuned!

album review: 'all i ever see in you is me' by jillette johnson

So after the last album review I feel something needs to be clarified, namely with respect to the folks supporting me and voting on my schedule on Patreon - and a lot of it is gratitude. Seriously, with YouTube demonetizing the majority of my videos the second they go up, you guys have been a life saver, and you've introduced me to music that I would never have covered otherwise. Some bad - I'm not sure I'll ever forgive you guys for AJR - but a ton of it good.

And as such, given the rather peculiar state my schedule is in right now, I think it's time we handle some old business and review a record that took a long time to get to the top - and yet if I had done my homework I would have been pushing this months ago. For the majority of you who do not know, Jillette Johnson is a New York singer-songwriter who has been attracting comparisons to Fiona Apple, but really her style and instrumentation reminds me more of a split between Feist's personality, Regina Spektor's hyper-detailed writing, Florence Welch's power, and Vienna Teng's knack for slightly off-kilter indie pop production that could lead to phenomenal hooks all the same. Her debut album Water In A Whale came out in 2013 and my god, it is something special, full of the sort of indie pop that throws in enough left turns to keep you intrigued and enough bombast and creativity to suck you in. It's a terrific debut and it makes all the more sense why she actually turned down an offer to go on The Voice so she could focus on her career - she's a far more intriguing artist than what that show would have her do. In any case, she dropped a sophomore album in mid-July, and if it's anything like her debut I was definitely excited to see where this would fit. So, what did we get?

video review: 'a fever dream' by everything everything

Again, I know, it's late, but it was an interesting conversation regardless.

But we're not done yet... stay tuned!

album review: 'a fever dream' by everything everything

So here's one of the more exasperating things I've had to experience as a music critic: hearing a lot of music that is certainly good and passable and agreeable but it just a shade away from true greatness, and at least to your ears you could hear the exact change they could make to get there and it's just not materializing, no matter how much you want it. You might like the band, you might like the ideas they're trying to explore, you might like their experimental progression... but it's just not assembling in a way that connects for you.

Now for Everything Everything they definitely didn't start there - they may have had a knack for catchy melodies and willfully oblique writing that walked the line of insufferable, but between some truly awful synth choices and the caterwauling of their frontman Jonathan Higgs, their debut Man Alive just did not connect for me whatsoever. And then something weird happened: the band got better, streamlining their sound, punching up their groove, and taking their lyrics into territory that was still odd but a shade more accessible all the same. Arc was a good first step, Get To Heaven was even better, damn near on the cusp of greatness... and yet every time I'd go back to it I'd feel oddly distant from it. The hooks were better than ever, Higgs' voice had grown on me a bit, and the greater focus on rhythm was potent... but I always got the feeling the band didn't always have a firm grasp of their strengths, which led to distracting non sequiteur moments or mix choices that never flattered the group as much as they should.

So while there was a part of me that was a bit concerned when I heard Everything Everything was heading towards a more 'conventional' sound on their newest record, I had at least the hope it'd come with sharper production choices and a little more focus overall rather than blunting their experimentation entirely. They had changed up producers again, bringing in James Ford who is most well known for working with Arctic Monkeys and Florence and the Machine... but on the flip side he had also worked on the last Depeche Mode and Mumford & Sons record, and how much he'd guide the sound was anyone's guess. So what did Everything Everything deliver on A Fever Dream?

album review: 'wonderful wonderful' by the killers (ft. anthony fantano)

And finally we have a review that I shot earlier this week and I'm really happy that it's doing well over on Anthony's channel. Props to him for bringing me on board here, this was a lot of fun!

video review: 'dedicated to bobby jameson' by ariel pink

Yeah, I wanted to talk about this... and while it's not his best - again - it's still worth hearing, if only because the sound is that out there.

But on that topic... well, stay tuned!

album review: 'dedicated to bobby jameson' by ariel pink

So nearly every review of this record I've seen starts with a brief story of Bobby Jameson, a singer-songwriter in the mid-60s who was heavily promoted and developed a bit of a cult following before getting eaten alive by the music industry and his own appetites. It's not exactly a pleasant story but it's not a surprising one either, and there's no obvious villain: sure, the music industry didn't make things easy for more protest-minded artists like Jameson, even in the 60s, but drug and alcohol abuse on his part didn't help matters, and he spent chunks of the 70s institutionalized or homeless. He resurfaced in the public eye after his 1965 record Songs of Protest and Anti-Protest was reissued without his knowledge, and from 2007 onwards he put together a combination of blog posts and videos on YouTube detailing his experiences, up until his death in 2015.

Now here's the thing: I actually found his channel and watched a few of his videos, where he had his music, a few vlogs, and some footage from protest events. And a few things struck me: one, you can tell he found the internet as a potent outlet to let off steam at an industry that screwed him, a renegade voice for the void like so many others on this platform, but at the same time he also reminded me a lot of older ex-musicians I've met, particularly out of the indie or punk scene: pretty smart, appreciative of his tiny audience, but also bitterly cynical and not quite as self-aware as he might seem. And a lot of it is pretty tough to watch, especially as it has the homespun quality of a channel that was never going to break a thousand subscribers. And thus it's absolutely no surprise that Ariel Pink found him and wrote an album dedicated to him. Hell, on some level given Pink's own peripheral placement in the music industry as a weird, often misunderstood outcast cribbing from the garbage of pop culture and with a bad habit of antagonizing people - look up his minor feud with Grimes if you want to get a sense of it - he probably viewed Jameson as a kindred spirit, or his career arc as somewhat prophetic. And while I've never been a huge Ariel Pink fan, he does have a lifetime pass for 'Round And Round' that means I'm always going to listen to what he puts out, even if I like and appreciate it more than I love it. So what did we unearth with Dedicated To Bobby Jameson?

video review: 'choir of the mind' by emily haines and the soft skeleton

So this was... actually way better than I thought it'd be, really happy I got a chance to cover it. 

But now onto our scheduled event, the record I really was anticipating before this pleasant surprise, stay tuned!