album review: 'you're not as _____ as you think' by sorority noise

So I probably should have covered this band earlier. Indeed, if you were to look at my past few years of music reviews, an in-the-know follower would spot there's a considerable hole in my reviews, a subgenre that has experienced quite the critical revival that I haven't covered. 

And that subgenre is emo - and yes, I'm referring to the musical subgenre that broke off from hardcore punk and post-hardcore in the early 90s, not the overwrought aesthetic that was beaten into the ground in the mid-to-late 2000s. Now as I mentioned in my Falling In Reverse review, my knowledge of post-hardcore is a little more lacking than I'd prefer to admit, and as such I was exposed to emo music like the majority of people were: through the mainstream crossovers. Oh, I know there were some people who were on the ground floor for Rites Of Spring or Jawbreaker, but I got exposed to it most when I started hearing Jimmy Eat World and then the more theatrical bent that came a few years later - which, if I'm being brutally honest, I tended to like more. From there I took in a lot of the mid-2000s scene with my general liking for Say Anything and I've made some inroads into back catalogs whenever pop punk adjacent to the subgenre gets covered, but when I heard about the emo revival from acts like Touche Amore or The Hotelier or The World Is A Beautiful Place And I Am No Longer Afraid To Die... well, I just wasn't interested. And that's not a judgement on quality, believe it or not - there was just other stuff I'd prefer to talk about and explore, trying to plug as many of my other knowledge gaps like electronic music and black metal.

That said, when I have found the time to listen to more of the emo revival, I've found acts I like, which takes us to Sorority Noise. Thanks to Patreon they wound up on my schedule and going through their first two albums, I found a lot to like - they had a good knack for hooks, some modestly clever and honest writing, and there was real progression from their debut Forgettable to their more melancholic but more tuneful and refined Joy, Departed in 2015. As such, I had every reason to think I'd probably like their newest album You're Not As _____ As you Think, especially if the confessional honesty hit some interesting new places and the tunes were as strong. So, what did we get?

video review: 'inFinite' by deep purple

Yeah, I know, I should have posted this two days ago, but given that I was hitting burnout and I needed a day or two to recuperate (plus, my birthday and such), I wanted to get this out.

And on the note of getting things out, time for some long-overdue catchup - stay tuned!

billboard BREAKDOWN - hot 100 - april 29, 2017 (VIDEO)

So this week... as I said on Patreon, I'm not precisely pleased with the thumbnail, but I think the episode turned out okay, which is fine.

Next up, Deep Purple and then something I should have tackled a month ago - stay tuned!

album review: 'inFinite' by deep purple

Look, even despite being a longtime Deep Purple fan, I don't think anyone expected their 2013 record Now What?! to be as great as it was. 

Their first record in eight years and their first after the death of long-time keyboardist Jon Lord - it showed a band reinvigorated yet again, surging forward with the sort of progressive experimentation and flair that didn't reflect a band that had been around for over forty five years! And sure, you might be able to pass along some credit to legendary producer Bob Ezrin, but it's also hard to ignore that Deep Purple are one of the most resilient hard rock bands still working. Let's get brutally honest, you can probably count the number of rock bands who tour as extensively as Deep Purple does for as long as they have on one hand, and to see a resurgence of quality in the compositions and songwriting - long one of the areas the band has struggled on weaker albums, of which there are a fair few - was a true marvel. 

But like it or not, you can't do it forever, and there's a part of me that knew it would only be a matter of time before Deep Purple set their instruments aside, perhaps to go off on one glorious high note as hard rock legends. They had finally been inducted into the Rock And Roll Hall Of Fame, an honor many had said they had deserved for decades, they were coming off the most critical acclaim and popular attention they had received in years if not decades, and unfortunately drummer Ian Paice had suffered a minor stroke in June of last year, which affected his right hand and fingers. And to end things off with one last ride called The Long Goodbye Tour and a record called inFinite, I had the feeling that this might just be the last record we get from Deep Purple. So enough reminiscing and nostalgia, what do we get on inFinite?

billboard BREAKDOWN - hot 100 - april 29, 2017

If this was any normal week, I'd be inclined to say it was transitional, an otherwise regular week as older tracks rotate out in preparation for spring. Maybe even a little unexceptional, given that The Chainsmokers seem to have finally hit their fifteenth minute with no new songs from their debut album making a significant impact. But this is not an ordinary week, because with the monstrous streaming numbers that Kendrick Lamar's DAMN. is currently racking up, it's a more a question of which tracks will survive what's coming.

video review: 'coming home' by falling in reverse

So yeah, this... actually not quite as painful as I was expecting, but it's pretty bad all the same. Eh, whatever.

Next up, Billboard BREAKDOWN and a record I've been eagerly anticipating all year, so stay tuned!

album review: 'coming home' by falling in reverse

Well folks, we finally got there. We've finally landed in the territory that I was dreading but knew with Patreon knew it was only a matter of time before I hit - the sort of Warp Tour band dregs that came in the aftermath of the pop rock boom of the mid-2000s and hasn't gone away. You know the place: where post-hardcore blurred with all the trends of modern pop and rock that nobody wants to hear to mutate into genres like crabcore, electronicore, deathcore, and a brand of pop punk blurred with screamo that traded insight or heartfelt power or even raw cleverness for pure obnoxiousness.

Hey, can you tell I'm talking about Falling In Reverse yet? Yeah, just because I've avoided them like the plague before this review doesn't mean I didn't know about Ronnie Radke's project after Escape The Fate fell apart. I actually had my first exposure to the group from seeing them - along with a lot of other horrible bands I hope to never cover on this show - on Mues' show First Impressions, and characteristically my first impression was a significant amount of revulsion. Yeah, their lead guitarist could pick up a tune on the solo and they could build to a decent if utterly derivative groove, but Radke's mugging delivery and the sense he bought into all of the lyrics he brayed made him utterly impossible to like. At least when Fall Out Boy gave the middle finger to their audience on Save Rock And Roll you can tell there was craftsmanship in the writing or experimentation - whereas that same year, Falling In Reverse released Fashionably Late which tried to pile in the synth against painfully gated drums, a ridiculous mishmash of genres, and utterly insufferable writing. And while there was a part of me that thought they might have been doing this ironically, sort of like the alternative metal genre blend Icon For Hire did, revisiting the record for this review convinced me otherwise - painfully. Thankfully, the band pivoted back to their blend of post-hardcore and pop punk with their 2015 record Just Like You - granted, that presumes you like a lot of post-hardcore, which for the most part I just don't. It at least felt like a ballpark where their sound and writing fit better... which they looked to be abandoning on their very next project which was going straight into pop punk space rock. I'm assuming that's the only reason why someone requested this - maybe as revenge for being ambivalent on that Starset record I've already forgotten - but whatever, there was a certain morbid curiosity in seeing how Ronnie Radke's brand of mugging would translate to the stars, so what did we get with Coming Home?

video review: 'DAMN.' by kendrick lamar

Well, this turned out pretty damn awesome, have to say. Not quite at the level of his greats, but eh, that happens, to follow To Pimp A Butterfly would have been crazy...

Anyway, next up... oh god, stay tuned for this one...

video review: 'ALL-AMERIKKKAN BADA$$' by joey bada$$

So yeah, have to admit, this turned out amazingly well, really happy how all of this came together in both an album and a review (especially given how quickly I slammed all of it together).

Beyond that, next up is Kendrick and then something truly horrific, so stay tuned!

video review: 'memories... do not open' by the chainsmokers

So apparently I forgot to post my video review of this here. Maybe because it's forgettable and terrible... yeah, I'll go with that.

And speaking of things I forgot...

album review: 'DAMN.' by kendrick lamar

I've talked a little before about a 'review-proof' album. The record that you know that everyone is going to buy and talk about and thus have a firmly established opinion on well-before you have time to really state yours. I think it's even more a truism today, in the age of reaction videos where more than a dozen people will have uploaded something before I even get that chance to hear it. And that's not counting the critics who will rush to have something up to get the page views of being the first one out and not take the necessary time to digest the record. And sure, I myself can be guilty of that last one, but if there's one thing I've felt increasingly sure about with Patreon, it's that my audience will generally be remarkably accommodating to me taking my time to talk about it when it's done.

But hell, I wanted to hear this: it's Kendrick. The Compton rapper who despite a string of radio guest verses I found utterly forgettable was known for insanely strong albums. I don't think it's hyperbole when I say that good kid, m.A.A.d city and To Pimp A Butterfly are some of the best records of the decade - hell, even a collection of b-sides on untitled, unmastered. were better than the majority of projects people dropped last year. Did I have concerns going into this record? Well, sure, but that was more because he's the sort of rapper where it's not a question of when he'd slip, but if - and that's not something you'd say about a lot of people.

That said, I'd be lying if I said I wasn't concerned. 'HUMBLE.' was good, sure, but I didn't love it as much as some hardcore fans did, and it seemed to reflect a simplification of flow and style that Kendrick didn't need. I had hoped it might just be a momentary thing - it's not like 'i' was reflective of To Pimp A Butterfly - but there was also the timing to consider. I get striking while the iron is hot with buzz in the mainstream, but I'm not going to deny I was concerned that the time hadn't been taken to refine a sharper project. But again, that wasn't going to stop me from listening to DAMN., and I think I've wasted just about enough of your time, so how did it go?

album review: 'all-amerikkkan bada$$' by joey bada$$

I have to be honest: I wasn't really sure where Joey Bada$$ was going to be taking this new sophomore project.

I mean, I wasn't surprised he was pivoting towards more of a political, socially aware sound as buzz was suggesting - it seemed a natural stepping point, especially given that his mixtapes and full-length debut in 2015 made that progression seem inevitable. After all, many of those older MCs he idolized in his production and flows and style did pivot to making more conscious music, it's a sensible step.

But here's the other truth: I haven't exactly listened to a lot of Joey Bada$$ since he dropped his full-length debut in very early 2015. Part of this might have been bad timing: I covered his record in between hip-hop albums from Lupe Fiasco and Doomtree, and I have to admit he may have gotten overshadowed in my mind and on my playlists because of it... which isn't really fair, because he's a great rapper with a knack for textured, old-school East-Coast production and some insightful, layered bars. And for a lot of people it's probably going to happen again, this time with Kendrick dropping his newest album off the back of a huge single. In short, Joey Bada$$ has had some rotten luck in terms of timing, and thus I wanted to ensure I gave this record its due before everyone forgets about it like what happened with Drake a few weeks ago. And while I bet for a bunch of you that was the first time you thought about More Life in a minute, let's stick to the subject at hand: how is All-Amerikkkan Bada$$?

album review: 'memories... do not open' by the chainsmokers

There's a part of me that thinks this is my fault.

See, I reviewed The Chainsmokers' second EP last year and I made the statement that the EDM duo would never release a full-length record, mostly because there was no need for it. After all, this was a duo of frat guys who treated music more like a marketing gimmick to get laid - freely admitting to being inspired by Jeremy Piven's character from Entourage - and project noxious ideas about women and relationships against their increasingly anonymous brand of EDM. Less artistic endeavor than calculation, it was the sort of utterly cynical and worthless music that would be gross and offensive to any sensibility if it bothered to have any distinct personality at all.

And yet it seems like in the build-up to this debut album, down to the subject matter of the singles, that The Chainsmokers were trying to blunt that reputation, or at least extend the long con they've run on the audience a little bit longer as their fifteen minutes tick down. They seemed to be trying to cultivate a more earnest and sincere image and shove their brand of ironic obnoxiousness down the memory hole - hell, look at the title of this album! And the depressing fact is that for most of the mainstream public it seems to be working - despite atrocious live performances and increasingly stale EDM drops, they're still selling records, and I'd put money on this project breaking a song or four onto the Hot 100 in a week or so, which is just peachy. Thankfully, I have a much longer memory, and yet while I don't think earnestness is the best fit for the band, their newest single with Coldplay isn't bad at all, so maybe something would be salvageable from Memories... Do Not Open?

billboard BREAKDOWN - hot 100 - april 22, 2017 (VIDEO)

Oh wow, this week took a lot out of me... lot to say, and a fair bit of controversy too (because of course there was).

Beyond that... fuck, you know what's coming. Enjoy!

billboard BREAKDOWN - hot 100 - april 22, 2017

I'm honestly not sure where to even start with this week - mostly because it seems overshadowed by the biggest story here, being the huge top ten debut that seems like the first serious threat that our top spot has faced in some time. But there's other stories about this week that deserve some consideration, including major shakeups in country and other disruptive singles. Also, Kodak Black happened for some ungodly reason, but we'll get to that.

video review: 'pure comedy' by father john misty

So I was up and down on this record a lot through many a listen... and you know, overall I'm landing on great. Pretty sweet record, definitely glad to cover it.

Anyway, the next record will be FAR less good, so after Billboard BREAKDOWN... well, stay tuned!

album review: 'pure comedy' by father john misty

I think there were a lot of people surprised by I Love You, Honeybear.

Hell, I was surprised. I had liked Josh Tillman's debut Fear Fun under the Father John Misty moniker, but his 2015 followup was in a different ballpark of quality. Huge, lush production, a knack for incredibly sticky melodies, and a narrative throughline that was as witty and twisted as it was genuine and heartfelt. I'll wholeheartedly admit the record's warped yet self-aware framing did require a certain headspace to appreciate - especially considering the romantic relationship that was being explored in plenty of lurid detail - but it connected for me, and it was very nearly my favourite record of that year.

But then comes the bigger question: how the hell do you follow that? The grand romance of I Love You, Honeybear was so well-structured, a self-contained masterpiece... and while Father John Misty had flirted with social commentary on the record I was a little unsure how well it could connect on a whole album, which was what Pure Comedy reportedly had. Let's get real: even if Father John Misty's insight proved valid, I could see a lot of people dismissing it because of both the delivery and the messenger himself, especially if it threw in elements of self-aware satire. It's a fine line to trace, and while I was reasonably confident he could pull it off, I was tempering my expectations going into Pure Comedy - so did Josh Tillman pull it off?

video review: 'winter' by fen

So I'm actually stunned this went over as well as it did - and not just the review, I'm actually pretty damn proud of how the thumbnail turned out for my first real try at photoshop. 

But it won't be my last tonight, so stay tuned!

album review: 'winter' by fen

You know, at some point I'm going to just admit I'm not sure where to look when it comes to finding consistent black metal recommendations. I mean, I try to keep my ear to the ground, but for multiple years in a row now I feel like whenever I find a record that's more on the atmospheric side of the genre it's damn near a miracle, and thus wind up covering a lot less than I'd otherwise like. 

But in this case it looks like I'm not quite as behind as expected - and I was a little stunned how many Patreon votes this got once I added it - so let's talk about Fen. They're an English black metal act that started in the mid-2000s, straddling the line with progressive metal and post-rock and drawing more than a few comparisons to Wolves In The Throne Room and Agalloch. They play on the more nakedly melancholic side of the spectrum in comparison with the soaring power of acts like Saor or Panopticon, more moody and bleak, but there's different shades of that, some that get into thicker, muddier textures that seethe off of subtle rumblings of bass, while later cuts on records like Carrion Skies get a little more ethereal and spacious, looking to pull the listener deeper into the seething darkness. That's not saying they're all atmospherics - Fen is certainly capable of ramping up the riffs - but in revisiting their back catalog I did find myself wishing a little that they would crank up the texture or intensity a bit to match their frontman's distinctive howl, maybe push the dynamics a little harder. Still, that's nitpicking across four pretty distinct records, taking an established compositional structure and refining and expanding it with each release. And considering their production has only gotten sharper and I was in the mood for some black metal comfortable pushing into new territory, I decided to check out their newest record Winter - how is it?

video review: 'emperor of sand' by mastodon

So I have no idea how this is going to be received. Thus far, things seem to be good, but certain audiences can be fickle...

Anyway, I'm not done with metal, as we're finally heading back into black metal territory... stay tuned!