video review: 'zombies on broadway' by andrew mcmahon in the wilderness

Well, better late than never, I guess. Probably won't remember a damn thing from it either, but I guess that happens...

Next up, though, we're going metal with Mastodon - stay tuned!

album review: 'zombies on broadway' by andrew mcmahon in the wilderness

I'm wasn't the music critic who coined the term 'silent majority' acts, but I'm not sure I could think of a more subtle and yet cutting descriptor for certain bands. You know the type - the groups that are just trendy enough to snag commercials and TV montage music, but never artistically challenging enough to actually be interesting or compelling for critics. And thus it should be absolutely no surprise that I find these groups painfully frustrating to review. It's not even that they make bad music so much as it's just bland as all hell to me, especially when they put on airs they don't deserve - something that the average music consumer doesn't understand and thus gets annoyed when I call it out.

And I don't think there was an act that jumped to the top of the silent majority act pantheon faster than Andrew McMahon In The Wilderness. The titular guy hasn't always been in the wilderness, and has been around longer than many people know - he was part of the emo group Something Corporate around the turn of the millennium, later went solo with a bunch of session players under the moniker Jack's Mannequin - both acts which are apparently remembered fondly by people who heard them at the time - and then went towards a piano-driven indie pop direction under the new name Andrew McMahon In The Wilderness. And look, I heard a little from him when 'Cecilia And The Satellite' crossed landed on the Hot 100, and for research I checked out his debut album... and that was enough to tell me I had no need to hear anything more from him; it's generally tepid piano-driven adult alternative that I already got plenty of growing up in the mid-2000s, and he's not doing anything that Daniel Powter, James Blunt, or Five For Fighting didn't do, just with a little more blocky percussion. But, thanks to folks on Patreon there was enough interest in me covering his sophomore album that it wound up at the top of my schedule nearly two months late. So, might as well get through this quick, what did I find in Zombies On Broadway?

video review: 'you only live 2wice' by freddie gibbs

So apparently people are pretty peeved I only found this decent instead of great. Eh, it happens - I know he's capable of far better, so we'll see what happens when that Madlib collab drops.

Anyway, next up is a review that probably should have dropped two months ago... but I have been dreading for some time. Stay tuned?

video review: 'spirit' by depeche mode

So apparently I forgot to post this a week or so back. Oops - here now, though, so enjoy!

album review: 'you only live 2wice' by freddie gibbs

If you think you had a bad year in 2016, I think Freddie Gibbs might have you beat. While on tour in France in early summer, he was arrested and later extradited to face sexual assault charges in Austria. And while I immediately got the sinking feeling I get whenever an artist I otherwise like is accused in cases like this, the more I dug into it the more pieces did not seem to come together. This was not a R.Kelly-esque case where evidence and testimony was willfully ignored, and the reason charges were thrown out in the end were because of a lack of evidence - charges, I should add, that were only pursued when the girl came forward eight months after the alleged crime and with no extradition sought from the United States. And considering Austria has an extradition treaty with the United States, it looked sketchy as hell that they had to nab him in France first.

But more than that, even though I don't claim to know Gibbs the allegations didn't make a lot of sense, even from the persona he put forward in his music. Yeah, he's a gangsta rapper, I don't doubt that drugs have been sold and guns have been fired, but especially if you go off of his last two records - and the fact that he was planning to settle down with his long-time girlfriend and infant son - Gibbs always seemed like he played by more of a hard code of honor and seemed to give women a fair amount of respect. Again, you really can't make judgments from music alone - it's not like anyone thought Chris Brown would hit Rihanna before 2009 - but the rapper who made songs like 'Deeper', 'Shame', and 'Insecurities' would engage in that sort of behavior.

So why even bring it up? Well, Gibbs was planning on making a point of addressing it directly on his newest project - which reminded me a lot of what Michael Gira did on that most recent Swans project when allegations were thrown at him - and from the sounds of it, he wasn't about to hold back on getting a second chance at freedom. Gibbs is the sort of guy who would fight tooth and nail to clear his name and set the record straight, and considering we're dealing with one of the most ruthlessly effective gangsta rappers in the industry, I was expecting this newest project - kept trim and focused at eight songs - to hit hard. So does Freddie Gibbs manage to clear his name with You Only Live 2wice?

billboard BREAKDOWN - hot 100 - april 15, 2017 (VIDEO)

Yes, I know this is up early. That's because it's a short week and I wanted to get this done and crash early, I need my sleep.

Anyway, Freddie Gibbs and maybe (just maybe) someone else tomorrow too, so stay tuned!

billboard BREAKDOWN - hot 100 - april 15, 2017

So this is the sort of week on the charts that I like. Not just that it's a cooldown week and we got a pretty small list of new arrivals, but also because it's the sort of delayed reaction to a big smash that will often tell you a lot more about what songs actually have momentum. Plus, the majority of this week was watching Drake songs lose, and I can't say that's entirely a bad thing either!

video review: 'golden eagle' by holly macve

Man, I wish I liked this more. I mean, it's not bad and I think if I had a little more distance from some personal issues right now it might resonate more... shame that it doesn't. Eh, oh well.

Next up, a moving-on record: Freddie Gibbs! Stay tuned!

album review: 'golden eagle' by holly macve

So I've been told by a lot of my international audience that they tend to be a little perplexed at the larger amount of country I cover in comparison with other critics. And that is worth calling out, because almost by design country is a highly regional genre, born out of American traditions and archetypes that haven't really crossed over around the world in the same way. Sure, Canada has a country scene - and to some extent so does Australia, driven out of the rougher, wilder frontiers - but go to Europe? 

Well, country music does exist in pockets across the Atlantic, but remember what I said about how country music to this day has a terrible web presence problem? Unfortunately, this is still very true internationally as well, and thus without good grassroots promoting, it's hard to hear about acts coming up in the UK or the rest of Europe. And thus I'm pretty happy that my audience decided to recommend the debut album of Holly Macve. Born in Ireland and growing up in the UK, she came up in a musical family and seems to have gravitated towards the vintage-leaning, smoky flavors of country that's popular in the indie scene right now. Now I've covered a lot of variations of this style, from Angel Olsen to Lindi Ortega, from Cheryl Desere'e to Whitney Rose, and I was curious where Holly Macve's English influence would shift the music, perhaps inject a heavier folk touch or a slightly different instrumental palette. Either way, I was in uncharted territory when I picked up her debut album Golden Eagle - what did I find?

video review: 'HEAVY META' by ron gallo

This is an easy record to love. Smart, biting, ridiculously catchy... FUCK, had so much fun with it, really great album!

Anyway, next up... hmm, Holly Macve, this'll be interesting, to say the least. Stay tuned!

album review: 'HEAVY META' by ron gallo

I'm not sure where to start with this guy. Odds are unless you have dug very deep into Bandcamp you probably haven't heard of him - and yes, this is another act who wound up here thanks to Patreon. 

And yet I'm really happy I found Ron Gallo, because he represents a weird sort of intersection point in music that really is right up my alley. There's definitely an element of the 70s singer-songwriter style that I like, but thanks to recording his debut album RONNY in Nashville he also stepped towards country tones with pedal steel and more liquid guitar tones. And that's before you factor in Gallo as a singer: basically, imagine a cross between Josh Tillman and some of Ty Segall's more restrained cuts, with the same over-educated theatrical swagger balanced with an slightly offkilter air of sleazy weirdness that's almost more unspoken that it comes through the subtle but often really clever writing. And let's not mince words, RONNY is a great record in 2014, especially for a debut, and I see why the guy who recommended it also cited Kyle Craft... and while I can see the similarities, Craft was pulling from a much more ragged, outcast wheelhouse, whereas with the late 60s-early 70s country callbacks and obvious affection for Harry Nilsson, Gallo is balanced a little closer.

So yeah, I was excited to hear what his followup this year would lead to - he's a good songwriter, I like his voice, and his command of well-established melodic structures is solid, so how does HEAVY META turn out?

video review: 'eternity, in your arms' by creeper

So this was a fun review to put together. My voice is still a little fried from being sick, but overall, pretty pleased with how this turned out, great record.

Next up, another cut from deep within Bandcamp, so stay tuned!

album review: 'eternity, in your arms' by creeper

Before we begin, let's go back about a decade to the pop rock scene in 2006-07. These were the years of My Chemical Romance, Panic! At The Disco, Fall Out Boy, and the peak of the mainstream emo boom that would turn about a third of teenagers scene that year. Now as I've said in the past, I wasn't really one of them - I was knee-deep in symphonic and power metal at the time, clearly I was embracing darker, heavier material - but that didn't mean I wasn't aware of or appreciate the music that was getting airplay. But it became a little hard that beyond the catchy, radio-friendly melodies, mainstream pop rock was embracing a certain image that was a little more baroque, for lack of better words, drawing on horror kitsch to craft a plainly theatrical image. 

And of course this was not new - the mainstream music scene has a habit of pulling on horror trends to construct weird or creepy instrumentals, often using the theatricality to blunt things from getting too weird - with the exception of the 90s alternative scene, of course, which frankly got away with a bewildering amount. But it tends to come in waves of popularity, often crashing hard at the point of overexposure, which last time in mainstream emo and pop rock around 2009. 

Fast-forward to now and the debut of an English horror punk band called Creeper, who had been building some buzz in their native country with a few EPs since their formation in 2014. Now I had heard good things going in - not just inspired by My Chemical Romance, but also calling back to glam rock, the Misfits and even Meat Loaf in their embrace of theatrical bombast. Now the last time I had heard someone adjacent to this vein cite some similar inspirations was Kyle Craft, and his debut album last year Dolls of Highland was a criminally underappreciated masterpiece, and thus I had a lot of curiosity going into this, especially as it's been getting frankly astounding amounts of critical acclaim. So with Eternity, In Your Arms, are we on the cusp of something big here?

video review: 'the upper hand' by AllttA

So this one took a bit for me to finally get to - overall, a good record, wish I liked it more, but that's what happens when you get weird cuts like this that come out of nowhere.

But the next release almost certainly won't fall in that category... because it's Creeper. Whoo boy, that'll be a fun one, so stay tuned!

album review: 'the upper hand' by AllttA

So... do any of you remember that rap rock debut album Boy Thursday I reviewed a few weeks ago from the group KNIVES, that I thought was decent but didn't really rise above its inspirations and ultimately just wasn't really for me? Well, I'm assuming the majority of you didn't, because that review got barely any traffic and was for an artist for which I only really covered thanks to Patreon. And in that review, I also mentioned that the rapper J. Medeiros also had a slightly more electronic-driven project called AllttA that was releasing its full-length debut this year?

Well, guess what we're talking about today, requested and voted on by the very same patron? Look, in all fairness I'm happy I got a chance to talk about this now - if you see what's coming in April we have what looks like a tsunami of new music, most of which looks to be pretty damn awesome, and this would probably get lost in the shuffle. And more than that, hip-hop has had a bit of a mixed year thus far - sure, we got Run The Jewels and Quelle Chris, but beyond that... there hasn't been a lot that's crossed my plate that I've loved. So okay, I was in the mood for some aggressive, smartly written bars, and even though I knew this would take a lot to unpack J. Medeiros is a solid MC, so what did I find in The Upper Hand?

billboard BREAKDOWN - hot 100 - april 8, 2017 (VIDEO)

So this was torturous to film. And edit. My god, being sick doing it too was horrible. Not sure I'm proud of this one, but I'm just happy I won't have to worry about Drake for a few months more at least... or at least I hope so.

Next up, though... okay, nothing tonight, but I'm working on the AllttA and Creeper episodes, so stay tuned!

billboard BREAKDOWN - hot 100 - april 8, 2017

You know, it didn't use to be like this. Oh sure, make no mistake, there were times where artists could have multiple singles on the Hot 100 at once, and I remember distinctly how much some chart watchers hated how Glee would get a few charting entries every single week to eventually accrue the most Hot 100 entries of all time. But do you want to know the big distinction between Glee and Drake, who thanks to streaming got all twenty-four of his album/playlist/background noise to debut on the Hot 100 this week? Glee may have had cheap, watered down production and attempted to appropriate styles they didn't understand, but there was at least color and passion and diversity in the sounds and styles they were trying to cover! Whereas with Drake it seems like we get all of that, plus refocused into a hazy hall of mirrors that all circle back on this Canadian, minus the existential horror that could potentially make any of this interesting!

album review: 'spirit' by depeche mode

I've talked in politics in music a lot in this series: hell, one of the first things I ever clearly delineated were my criteria for political art to work, I've been focused on this for some time. And initially, given the aftermath of the election last year down south, I was expecting a lot more politically-themed art to erupt from the woodwork, artists who now have a clear and present threat erupting forth to make their statement.

But in watching a Dead End Hip Hop conversation with MC Uncommon Nasa - who I have covered a few times on this show - he raised a few points that got me thinking, the first being that hardship rarely precedes great art. Like it or not, when by necessity you have to be concerned where your next meal is coming or whether you can make rent and your art doesn't have the necessary focus, it can feel slapdash... and while that can work for some punks or true prodigies, that added rush to say something can also lead to ideas that aren't fully thought out or explored. And that's the other thing: everyone is going to want to rush to make some sort of statement, cash in quickly to be the standard bearers - and that means a lot of acts who aren't normally political will try to become political, and that can have disastrous results.

As such, when I had heard long-running darkwave group Depeche Mode was breaking from tradition to release a more politically-themed record... I had mixed feelings, to say the least. On the one hand, they have explored complex emotional, spiritual, sexual and even socially relevant themes before, but the complexities of modern politics are a very different animal, and I wasn't really confident they'd manage to bring together the writing to make this work. And to further qualify this, I wouldn't say I was a hardcore Depeche Mode fan - I think between '86-'93 they put out good records, which is a longer 'good' period than most critics give them credit, but outside of isolated cuts before and after a lot of it can start to run together for me. But hey, they're also an English group, probably looking to focus more on the political scene in their own country, and the longer time to deliberate probably helped, and Lord knows their writing has felt stale for years so maybe uncharted territory would be good for them, so how did Spirit come together?

video review: 'hot thoughts' by spoon

Well, this happened. Not a lot to say, only that it's great indie rock and I really like it.

Sadly, what's coming next... wish I liked it as much, but stay tuned!

album review: 'hot thoughts' by spoon

So here's the frustrating thing about some acts, and I'm talking about a rare few indeed. The groups that right from the start are so consistently strong, so focused, so uniformly consistent with quality... that for some inexplicable reason they fall out of the critical conversation. And while I'll place a considerable amount of blame on fans and critics taking certain bands for granted, on some level I get it - after all, people often seem to remember the tremendous standouts and are more willing to forgive the missteps, they don't really value consistent greatness in the same way. And in a sad bit of irony, a lot of these consistent albums are only given greater significance beyond the devoted cult fanbase - because you can guarantee acts like this have a cult following more than most - when the band slips up, or changes sound dramatically and splits the fanbase, or breaks up entirely.

And I think you can make the argument that Spoon fits in this category. A quick sidebar: I've long accumulated enough music that I could fill up my iPod twice over, so I've made an effort to only include great albums or better... and with the exception of Transference, I've got every Spoon album on there! And that's telling: for over a decade since the late 90s, Spoon has cranked out album after album of quality... but I can definitely see a casual observer not being able to tell the difference from record to record. So at some level I knew it was only a matter of time before Spoon decided to switch things up - and on some level, if you go back through 2014's They Want My Soul, you could see this coming. Part of this probably could be linked back to producer Dave Fridmann coming on board and bringing his characteristic heavier, blockier sound, but probably even more linked to the quiet departure of longtime member Eric Harvey, who had been with the band since Kill The Moonlight. In other words, I wasn't entirely surprised to hear they had shifted their sound in a more indie pop direction, pulling in more guest vocalists in order to pump up their sound and add a little more diverse instrumentation, this could turn out to be something interesting - so did Hot Thoughts stick the landing?