billboard BREAKDOWN - hot 100 - june 17, 2017

So I was predicting that this week would actually be a little slower going in - after all, it didn't look like the top ten was shifting at all, there wasn't any major album releases on the horizon, we'd have another week in a holding pattern... and yet that's not what we got, pretty much thanks to the record that never hit my schedule and that I would have had no interest in covering if it had. Yep, folks: this is the week of Bryson Tiller, accounting for half of the new arrivals... joy.

video review: 'gone now' by bleachers

And that's two... whew. Good record too - wish it was great, but it happens.

Next up, Billboard BREAKDOWN and probably All Time Low next, but you never know - stay tuned!

album review: 'gone now' by bleachers

I distinctly remember not expecting to love Bleachers' debut album Strange Desire as much as I did in 2014. Hell, I remember watching and reading the other reviews, which gave it some token appreciation for 'I Wanna Get Better' and then proceeded to tear into it.

And here's the thing: I completely understand where the majority of those criticisms came from. Is it a shameless 80s pastiche with a frontman who doesn't have the range and presence he thinks he has, relentlessly overwritten with an earnestness that pushes it between aggressively corny and embarrassing? Yeah, absolutely - and yet to some extent the overwritten earnestness, when paired with Jack Antonoff's uncanny knack for huge hooks and a deceptively potent album concept lurking beneath the surface, it lead to a record that hit me like a tidal wave and I still return to fairly regularly, even moreso since I got it on vinyl. And since then, he's popped up all over the place as a behind-the-scenes songwriter for Sara Bareilles, Lorde, the best song Rachel Platten has ever made, and a little someone called Taylor Swift. Yeah, you want to know the reason so many of you idolize 1989 as a pop record beyond the singles, most of the thanks you can direct here.

So you can bet I was looking forward to this - I hadn't listened to any of the lead-off singles, I was excited to go in cold and just take it all in, especially considering he brought on board both Lorde and Carly Rae Jepsen to back him up. So what did we get for Gone Now?

video review: 'relaxer' by alt-J

Hey, this was a request, so to some extent you all were asking for this (well, probably not for this review specifically, but I had to set my cards straight, and it'll be fascinating how many subs I lose in the end here).

Anyway, not the only review dropping tonight - Bleachers coming up next, stay tuned!

album review: 'relaxer' by alt-j

Oh, I'm not going to make any fans with this review. Mostly because there is very much a reason I've avoided talking about alt-j, a breakthrough UK indie pop group that I've found a fair bit more frustrating than actually likable, not helped by comparisons to Radiohead I never thought we deserved.

See, I've listened to An Awesome Wave and This Is All Yours, and to some extent I see the appeal - they can take some obtuse methods of hitting melody, they have a liquid approach to guitar grooves that I'd normally like, they have a frontman with a distinct voice and writing that on the surface seems somewhat approachable, they dabble in other subgenres adjacent to rock... yeah, note the word 'dabble', because every listen to alt-J gives me the impression there is nothing all that striking or compelling beneath all the 'weird' indie pop pivots. The biggest consistent criticism with their first two records are that they're overstuffed messes, but that can be redeemed if they add up to something with an edge or something to say, whereas every listen I've given to alt-j just finds it all the more hollow to me. I can tolerate weirdness for its own sake, but frankly, this doesn't feel alien or imposing or challenging, just obtuse and sterile and sexless, the music marketers think the lowest common denominator of hipsters like. Sure, there are a few pretty vocal harmonies, especially on This Is All Yours, but that doesn't disguise the fact the records are dreary slogs that think they are a lot more interesting than they actually are. And it's not helped by the fact that I find Joe Newman a particularly unengaging and unlikable frontman, especially when you dig into the lyrics - it's one of the reasons I've never found the Radiohead comparison made any sense, because even though I'm not really a fan, Yorke's writing and intensity was far more compelling than this, and he certainly aims higher.

But hey, you guys wanted me to talk about Relaxer thanks to Patreon, so maybe three records in alt-j will have found something workable?

video review: 'wonder woman'

Well, this was interesting... again, I think this'll ultimately tilt into greatness for me overall thanks to a tremendous lead and some great chemistry, even if the third act does frustrate me. But still, for so many audiences, this is a film they've waited their whole lives to see, and the fact they stuck the landing this well is worth noting. 

Next up, Bleachers, and (sigh) probably alt-j, so stay tuned!

video review: 'hopeless fountain kingdom' by halsey (ft. ARTV)

Well, this was a fun conversation. You'll want to check out the full video on Jon's channel, we go in depth there, but beyond that... yeah, this was solid.

Next up, though, I've got another movie on my docket, so stay tuned!

video review: 'goths' by the mountain goats

Man, this record... it just cut deep in the best possible way. Holy shit, I loved this.

What's coming up next, though... well, we'll see. Stay tuned!

billboard BREAKDOWN - hot 100 - june 10, 2017 (VIDEO)

Well, this episode generated a lot of backlash... eh, it happens. Overall, pretty happy with it, all things considered. 

Next up, though... really excited, have to say, so stay tuned!

album review: 'goths' by mountain goats

Before we get into this review, I think there need to be two things placed in context: my relationship with the goth subculture; and my relationship with the music of The Mountain Goats - and in both cases, it gets complicated in a hurry.

See, if you've seen me rambling on Twitter at some point late at night, I'll typically have wandered into one of my favourite goth club haunts for some music that actually has an edge and to soak in the atmosphere, but whether I'd call myself a goth... well, people have been arguing about that qualifier for decades now, but I'd probably say it's not really a label that fits me exactly. I like a lot of gothic music and fashion and it's easy for me to feel comfortable in goth clubs - you're not going to find a crew as openly accepting of oddballs like myself despite appearances as that subculture, along with markedly more likable music - but for me there's a time and place for it, never quite a scene I've completely embraced.

And here's the funny thing: I get the impression John Darnielle might feel the same, which leads us to the Mountain Goats. Full disclosure, while I may have been introduced to them through Nash over at Radio Dead Air - check him out, he broadcasts online live on Monday evenings, his content is excellent - I've never really done a deep dive, and thus I've spent the past three or four weeks exploring all fifteen full-length records in their backlog, from their roughscrabble early days in the 90s to their slightly more polished indie folk side in the 2000s to the steps towards indie rock that has come in recent years. And while I would definitely call myself a fan, I wouldn't really say I'm a big one, mostly tied to the energy and strength of the melodies along with Darnielle sticking with more defined stories instead of some of the abstract pieces that sometimes can feel a tad scattered. It's also one of the reasons I have a hard time citing a favourite Mountain Goats record or ranking them - for me, unless they've got a unified thematic arc I tend to like bits and pieces, although if I had covered Beat The Champ back in 2015, it would have had a serious shot to make my year-end list, that record hits so many of the same moments that made Darren Aronofsky's movie The Wrestler click so deeply for me, it's startling. But their album this year Goths... well, with the comparisons to the writing of Nick Cave of course I was on board, but I was a little concerned that Darnielle had opted to abandon his guitar entirely for the record, which could lead to a very different sound and one sure to piss off the diehard lo-fi Mountain Goats fans. But hey, what did we get out of Goths?

billboard BREAKDOWN - hot 100 - june 10, 2017

So it looks like the charts have settled down for a bit heading into the summer months, and that means for me, things seem fairly normal. Hell, even the big shifts I expected coming off of records that I thought had a chance to cross over... well, it didn't happen. Instead, for once, things almost look straightforward or at the very least a little predictable, especially when we get to our new arrivals.

video review: 'teenage emotions' by lil yachty

You know, I was expecting to pull a Rae Sremmurd on this project... but no, it actually has a few decent moments. Points where they're due.

Next up, Billboard BREAKDOWN, and we'll see from there - stay tuned!

album review: 'teenage emotions' by lil yachty

I think there is a misconception surrounding why certain critics - particularly those who like oldschool hip-hop - are a little... let's say reticent towards Lil Yachty and the mumble rap crowd, often surrounding comments like 'oh, you don't get it, it's music for the kids, it's more about the vibe and flow than the actual words that are being said - after all, it's upbeat, it's happy!'

And yet here's why it doesn't really fly with me surrounding Lil Yachty: maybe it's because I've become accustomed to this sort of flow and style, or that I've been listening to rappers who flow with more speed and intensity for years now, but he's always been very understandable for me. And while I've never really liked his flow or delivery or the fact that he's a sloppy MC who clearly has the potential to be a better rapper and just doesn't care, that's never been at the core of my issues with him. No, it's something that's far more common and jarring than many people have given credit: for as much as Lil Yachty wants to project a dualistic nature between his rapping and sensitive crooning side, the issue has always been tonal dissonance between his delivery and approach and his content. Let's put aside the fact that instrumentally hip-hop is slowly becoming less dreary and bleak and that sonically Lil Yachty isn't breaking down barriers, but when you combine it with how he's still rapping about many of the same bargain barrel subject matter I've been hearing for decades, I'm not impressed! Because yes, I went back to listen through Lil Boat, and aside from being too long, the best thing I could say about it were some decent melodic hooks and a few cute samples - in terms of content, it wasn't interesting or subversive, and it certainly wasn't well-constructed. And even with all of that, I had a bad feeling going into his upcoming record Teenage Emotions, where with his lead-off single with Migos it looked be trending towards tones and sounds that pivoted towards the mainstream and removed the few things that made Lil Yachty sound somewhat different! But hey, surely there'd be something on this twenty-one track seventy minute record, right?

video review: 'all the beauty in this whole life' by brother ali

Well, this happened... I'm honestly not sure how the response is going to be to this, but we'll see... anyway, it's undoubtedly going to be better than what's up next, so stay tuned!

album review: 'all the beauty in this whole life' by brother ali

Oh, I've been looking forward to this one - because sometimes when you listen through an extended backlog in preparation for a review, it can be strenuous or exasperating or just plain exhausting even if there was a lot of quality in just huge volumes... whereas in this case, it was fun.

So yeah, Brother Ali - I've been hearing praise for this guy for years now, as a populist political MC hailing from Minnesota who has the wit and insight to back it up and who also has the skills of a battle rapper. And what initially caught my attention were the comparisons to Sage Francis, in terms of his origin and initially a fair amount of his content in balancing the intensely personal with fearsome skills - hell, they even battled once. But their trajectories broke in very different directions, with Brother Ali's material shifting to a much more political direction working alongside Atmosphere producer Ant - and this is the political hip-hop I like to hear. It's nuanced and detailed with a lot of great storytelling and framing, but it has the passion and populism to keep it grounded and human, and when you pair it with remarkably solid groove and punch, it leads to relentlessly enjoyable records with rare slip-ups - there's no serious dud in his discography.

Granted, he hasn't always worked with Ant - he switched things up for Jake One on 2012's Mourning In America And Living In Color, which was pretty damn solid - but it has been five years since Brother Ali put out a full-length solo project, and if I was looking for a political rapper to speak definitively on our current situation, I'm not sure I could ask for many more better candidates, and a reunion with Ant could only be a good thing, his production work was easily the best thing about that most recent Atmosphere project I covered on vacation last year. So what does Brother Ali have to say on All The Beauty In This Whole Life?

video review: 'united states of horror' by ho99o9

Man, I wish I liked this more. It's not bad, per se, but it's so inconsistent and lacking in impact lyrically... eh, it happens.

But on the topic of tackling old business, let's move onto a record I'm really excited to discuss, so stay tuned!

album review: 'united states of horror' by ho99o9

There's a part of me that's surprised by this... but it's counterbalanced by the part of me that has known this was kind of inevitable - it just might have taken more time to get there. After all, when you have a group like Death Grips who quite literally pioneered a distinct sound and style in modern hip-hop, eventually it's going to inspire people to jump towards their lane.

But there haven't been many to try. Obviously the most prominent person to try noise rap was Kanye West on Yeezus four years ago, but even though I do mostly like that album, it really is the pale mainstream imitation of a sound and style that Death Grips landed better, and it wasn't long before they themselves went in a more punk and noise rock-inspired direction on a record like Jenny Death. Hell, even clipping, a noise rap group who I gravitated to the most, they went into high-concept space opera territory, they weren't exactly interested in following Death Grips towards punk. Hell, even if you take a look at the current crop of distorted Soundcloud rappers like XXXTENTACION they aren't really punk so much as they want to blow out your speakers.

Enter Ho99o9, a hip-hop duo from New Jersey who have attained some buzz for absolutely manic live performances, stabs at gruesome horrorcore, and a significant punk influence - in fact, some would argue they're closer to the punk scene than hip-hop, given how many hardcore and metalcore bands they've supported on tour. They've put out a few singles and EPs, but now they've got a full-length debut ready to go, so what did Ho99o9 bring to the table?

video review: 'black origami' by jlin

Well, this happened... man, I wish I liked this album more. Don't get me wrong, it's not bad, and I think if it's your thing you're going to really like it... but I'm just kind of meh on it overall.

Up next, though... oh boy. Stay tuned!

album review: 'black origami' by jlin

So I've always been very upfront with the fact that when it comes to me and electronic music, I can feel a little out of my depth, especially on the more experimental fringes where the compositions push into twisted, visceral territory. Now this is less true than when I was first stepping into the genre in 2015, but there's a part of me that's always a little unnerved and yet thrilled venturing into the weirder subgenres, that touch upon tones and sounds that never really touched the mainstream.

And so you can all imagine how much a record like Jlin's Dark Energy had on me a few years ago. Wrenching the tempos and intensity of footwork into twisted yet razor-tight atmosphere full of fragmented samples, industrial muscle, and African textured percussion, it was an experience unlike any other electronic record I had heard in recent memory, and while I did take some time to delve into footwork after hearing Dark Energy, it's a record that has lingered in my mind even years later. Hell, a record that experimental, strident and confrontational and yet willfully abstract and opaque can be easy to respect for how much it sticks in your head, even if going back I still find parts uneven enough to like but not love.

So when I heard that Jlin was doubling down to produce something even more challenging, aggressive, and imposing for her sophomore release, I was definitely on board, even if there was a part of me that was a little terrified where the album could take us. So where does Black Origami go?

video review: 'no shape' by perfume genius

Man alive, I enjoyed the hell out of this record, and I really do think this is one of my better reviews too. So thrilled I finally got to it, definitely will land on year-end lists.

The next record, though, is even more critically acclaimed... well, stay tuned!