video review: 'pray for the wicked' by panic! at the disco

Well, this was a complete disappointment... but hey, you were going to hate me for this review anyway, so enjoy!

Next up, what looks to be a pretty miserable episode of Billboard BREAKDOWN, so stay tuned!

album review: 'pray for the wicked' by panic! at the disco

So the fact that I have to cover this album is a no-win situation for me. 

I might as well lay this out right now just to establish where the discourse is going to be when talking about this album regardless of its quality, and considering I somehow wound up in the situation when posting reviews makes me lose subscribers in the short term, I really have nowhere to go but down here. And if this all sounds sardonic and defeatist... well, it is the former, but the larger truth is that I know regardless of what I say there'll be a diehard fanbase that'll stick up for whatever Panic! At The Disco does. So even if I say how much A Fever You Can't Sweat Out has real gems, and Pretty Odd. is legitimately great and Vices & Virtues and Too Weird To Live, Too Rare To Die are both underrated, and how 'Crazy = Genius' made my year-end list of the best songs of 2016 and I think there's at least something to Brendon Urie being compared to Brian Wilson... it ultimately does not matter to them.

But frankly, given how I reviewed Death Of A Bachelor two years ago you should all know this by now, so let's focus on Pray For The Wicked, where I covered a few of their lead-off singles on Billboard BREAKDOWN but I can't say I remember all that much of them. I remember the production sounding overblown and thin - not remotely a good sign and about the last thing Brendon Urie would want to carry over from Broadway productions - and I remember the lyrics feeling underweight, and the buzz was suggesting that was pretty commonplace across the record, but Panic! At The Disco in every incarnation has found ways to surprise me, and I was genuinely hoping that Pray For The Wicked would hit that point, so how's the album?

video review: 'the future and the past' by natalie prass

Yeah, really took me way too long to get to this one... and I really do wish it was better, but it's got its merits.

On a slightly more dispiriting note... look, just stay tuned?

album review: 'the future and the past' by natalie prass

So I remember a few years back I described a certain brand of indie pop and folk that I tended not to like, that I and other critics have branded as 'twee'... and in retrospect, I think my opinions have evolved on this subject. Because give the aesthetic style even a bit more thought and you'd think that parts of it would be right up my alley: earnestness, a songwriterly attention to detail, organic texture that rewards patience and nuance in the listener, you'd think this would resonate...

And in truth that's all probably true, so maybe 'twee' is the wrong designation... but I also can't deny that there's a certain delicate, overly arranged and yet very accessible, borderline 'basic' aesthetic that doesn't resonate as strongly if that core of strength doesn't come through. And for a prime example of this, let's talk about Natalie Prass, an indie pop singer-songwriter most recognizable for her thin, fluttery vocal delivery and very polished, borderline baroque pop arrangements who won buckets of critical acclaim for her self-titled debut in 2015. And yeah, I can see the quality: she's a wry and clever songwriter, the arrangements are certainly lush and pretty with their strings and horns, and there's a theatricality to her presentation I can usually appreciate... but it just never gripped me more deeply, a record I can appreciate more than actually enjoy. And thus I was wary when I saw her follow-up show up on my schedule, but I was certainly intrigued by the buzz - reportedly that core of strength had finally materialized, along with her taking a stridently political direction after having to junk an entire record of songs that she felt just didn't fit with the current climate. And while this album hasn't quite been getting the rave reviews of her debut, I thought there was a chance this album could click for me more than her last, so how is The Future And The Past?

resonators 2018 - episode #006 - 'kill from the heart' by dicks (VIDEO)

I've got a lot of thoughts that I wound up being the one doing this profile years later - the fact that I can't find any anniversary pieces on this album baffles me, or even something in Pride... but then again, hardcore punk being ahead of its time and then promptly forgotten is nothing new. /sigh

Okay, next up, let's talk about Natalie Prass and then I might handle Panic! At The Disco - stay tuned!

resonators 2018 - episode #006 - 'kill from the heart' by dicks

So there are some cultural narratives around certain genres of music like hardcore punk that I'd like to think this series at least has taken a small step in helping demystify, and today we're going to be talking about one of the more complicated ones: homosexuality in hardcore. Because just within the classic records I've covered so far we've heard gay slurs, and while the majority of the artists seem to regret them now, it's just as important to understand this was the early 1980s. It was Reagan's America, hypermasculinity was in, and hardcore punk was very much a boys club, and even though we're talking about a genre that trended left, I wasn't remotely surprised to see those slurs pop up among young guys looking to be as blunt and edgy as possible.

But that did not mean that there weren't gay artists in hardcore, and while I wasn't originally hoping for this record to top the poll for this month, given that it's Pride Month I'm kind of happy it did. That's right, folks, it's time we talk about one of the foundational albums in queercore, hardcore punk that tried to take a stridently progressive angle when it came to sexuality and gender and bringing it with as much fury as any of their more conventionally oriented counterparts. Hailing from Texas of all places and well-known for a drunken live show and their prominent socialist bent - and again, this was in 1983 - a band in Austin started as a joke by their openly gay frontman Gary Lloyd until singles and records proved otherwise, today we're going to be talking about The Dicks, and their full-length debut album Kill From The Heart, and this is Resonators!

movie review: 'incredibles 2' (VIDEO)

And that's the last of them, whew. Okay, enjoy!

video review: 'liberation' by christina aguilera

And this was way better than I think anybody expected it to be - go figure - but we're still not done with the updates!

video review: 'youngblood' by 5 seconds of summer

Okay, lot of updates to post here tonight, so let's start with something I should have posted on Thursday that is quite mediocre - enjoy!

album review: 'liberation' by christina aguilera

You know, I guess I shouldn't be that surprised that this record got so many votes so quickly on my schedule - it's her first record in six years, and she does have songs that are fondly remembered - but I'll admit I still am. And to explain why, we need to talk about Christina Aguilera's larger career and try to place some of it in context...

And even then, it's a struggle. Like many of her pop peers in the late 90s, Christina Aguilera started out in the Mickey Mouse club before transitioning into more adult pop tunes, notable because she actually had the pipes to back it up and become a serious player in pop and R&B. And while she was praised for that voice which helped her become a serious hit-maker around the turn of the millennium, get closer and the story becomes a lot more tangled. Part of this was inevitable as the early 2000s did a serious number on the careers of 90s pop divas, but ever since the beginning Aguilera's larger career seems strewn with weird choices and miscalculations. A strong debut is followed by an attempt to jump on the Latin craze of the time a year later with a record entirely in Spanish. Her 2002 album Stripped shows the dichotomies even more starkly, with pivots towards R&B and soul with 'Beautiful', rock with 'Fighter', and even hip-hop, none of which reflected any consistency. Her 2006 record Back To Basics showed a course correction towards a more flashy, almost old-fashioned brand of pop with tracks like 'Candyman' - even hiring P!nk cowriter Linda Perry to help. But that highlighted the unfortunate reality that while P!nk might not have the same register, her writing and edge had been consistently stronger since her breakthrough around the same time - P!nk knew exactly who she was and could build the cult of personality Aguilera struggled to assemble. Meanwhile despite artists like Lady Gaga highlighting Aguiilera as an inspiration, we got 2010's disastrous Bionic and the underwhelming Lotus in 2012 - at this point Christina Aguilera was becoming more well-known for her work on The Voice than as an artist in her own right, to the point where I'm surprised she hasn't leveraged that spotlight to push an album earlier, although she's continued to pop up on singles like 'Say Something' from A Great Big World and 'Feel This Moment' from Pitbull. But now we have a new album, with a producer list spanning from Kanye to Jon Bellion to Anderson .Paak, with guest stars from GoldLink and 2 Chainz to fellow pop diva Demi Lovato - and say what you will about Christina Aguilera, she doesn't play it safe, so what did we get with Liberation?

album review: 'youngblood' by 5 seconds of summer

Oh, this one is going to hurt.

See, I was never one of those who hated 5 Seconds Of Summer right out of the gate, even if 'She Looks So Perfect' was stupid: I reviewed their first EP and their full-length debut in 2014 and Sounds Good, Feels Good a year later and I actually saw a progression for this group: yeah, in terms of mainstream-friendly pop rock they weren't reinventing the wheel or even stepping close to the exploding pop punk underground, but the hooks were catchy, the writing was steadily getting better, and they had songs with genuine crunch and presence that could hit a little harder. And while I never expected them to get that much heavier, in the wake of that pop punk and emo underground picking up steam you'd think the natural choice would be to double down on the instincts that got them writing gems like 'Jet Black Heart' and push even further.

And then you remember that 5 Seconds Of Summer were signed to a major label who were probably paying more attention what Maroon 5 was doing in gutless pop or how Fueled By Ramen has been systemically neutering the rock out of their roster, so gone were producers David Hodges and John Feldmann and in came the pop songwriting machine to churn out desaturated, groove-centric pop... which I'm not against if it feels natural and flatters the group like with The 1975, but when you have a band perfectly primed to take advantage of a rising underground movement and you force them to imitate a sound that's closing in on its last legs, that stinks of artistic mismanagement. So no, I was not looking forward to this release - could 5SOS pull their band from the brink?

video review: 'EVERYTHING IS LOVE' by the carters (jay-z & beyonce)

You know, I kind of expect this review to face a backlash... but I'm not sure how big it'll be, we'll have to wait and see with this one.

Regardless, next up is either 5SOS or Christina Aguilera, so stay tuned!

billboard BREAKDOWN - hot 100 - june 23, 2018 (VIDEO)

Well, this was a pretty decent week. Not quite one of my better episodes, to be honest, but alright enough...

But now onto the true controversy, stay tuned!

album review: 'EVERYTHING IS LOVE' by the carters (jay-z & beyonce)

You'd think this would feel bigger.

That's been the thought that's lingered in my mind for the past few days in the wake of the surprise album from Jay-Z and Beyonce,  their first as a couple and already hailed by some as the triumphant conclusion to a multi-year arc where hip-hop's most notable power couple lay their grievances to rest and celebrate their love amidst overflowing stacks of money and fine art...

Huh, maybe that's what's it, the larger culture and especially the younger generation unable to relate to the dizzying heights of Jay's business ventures and wealth that they've given up and stopped paying attention altogether. I'll freely admit that was a major niggling issue that ran through my coverage of 4:44, but it has run deeper, with numerous black publications and essays being circulated on how in the larger American class war Jay and Beyonce wound up on the wrong side. And that's not to take away from their success or even their cult of personality - both are great artists and I really do love both Lemonade and 4:44 - but it's been increasingly difficult to overlook how said cult of personality has been assembled through black artistic associations that aren't their own, or that for as much as Jay has sought to pass along aspirational advice or for those to bask in Beyonce's mere presence, it's always come with a hefty price tag. And yet for me it's always been the more grounded and human moments of their relationship that's pulled me back, when the pinnacle has fractures or outright collapses that we have actual stakes in the drama. So yeah, I wasn't exactly lining up for the victory lap that some have said EVERYTHING IS LOVE represents - they rented out the goddamn Louvre for their video, for god's sake - but again, they're both great artists, I had the hopes this would be at least good. So what did we get?

billboard BREAKDOWN - hot 100 - june 23, 2018

So I'll be honest: if there's a week that feels like a bit of a breather for me, it's this one. Yes, we got an album bomb from Kanye and Kid Cudi, but thanks to it actually being pretty good and not having an avalanche of other new arrivals, this week actually feels a little more restrained for once, and before Scorpion crashes in a few weeks, I'll take what I can get.

video review: 'oil of every pearl's un-insides' by SOPHIE

Yeah, I kind of expected the backlash here... eh, it happens.

Next up, Billboard BREAKDOWN and then 5 Seconds Of Summer, so stay tuned!

album review: 'oil of every pearl's un-insides' by SOPHIE

So I tend to find it interesting what people's threshold for 'weird' is in electronica, mostly because I'm fairly certain mine is pretty skewed. Most of this I can attribute to when I started getting into electronic music in the first place a couple of years back, which found me delving into the critically acclaimed experimental electronic music that seriously challenged the art form rather than the foundational artists in house, techno, and other associated subgenres, most of which I found later. But what this means is that it set a strange baseline for what I would consider 'challenging' electronica, one that's probably not common with anybody else.

So for an easy example, let's talk about SOPHIE - known to work with Charli XCX and the PC Music group with chipper, burbling synths, lumpy, overblown and distorted progressions, and a sensibility somewhere between late 90s bubblegum pop and k-pop for synthesizing maddeningly catchy music, I had been aware of SOPHIE going back at least as far as her 2015 project Product, but I hadn't been thrown off-guard as so many were. Yeah, the mixes could feel slapdash and unbalanced, and the frequented pitched-up vocals could grate on my nerves, but beyond that... well, she at least had a pop sensibility in comparison to a producer like Arca, but that gave me the impression that this was considered so mindblowing and genre-pushing only with respect to modern electro-pop. And yeah, while it felt undercooked lyrically and I wasn't remotely convinced this was that experimental, I enjoyed it for what it was, and as such I wasn't nearly as surprised when she notched credits on Vince Staples' newest project, or that she'd have a larger release following up on the compilation Product waiting in the wings that's getting the bandwagon critical acclaim. So did SOPHIE manage to live up to all of those expectations with Oil Of Every Pearl's Un-Insides?

video review: 'the mountain' by dierks bentley

Yes, I know this is late. Yes, I know I'm behind schedule again. I'm working through it, folks, just stay tuned!

album review: 'the mountain' by dierks bentley

So I'll admit it wasn't really my plan to review this. 

Well okay, that's not quite true, I was planning on adding this to my schedule naturally, but then nobody added the Kanye and Kid Cudi collaboration and given how quickly it attracted attention, I really had to stop everything and ensure it got attention. But even then, I still had other albums that would have come ahead of this... and yet the more listens I gave them, the less I had to say, with this becoming especially true for Lily Allen - where decent writing was squandered on utterly forgettable production - and Sugarland, which might have landed a few good hooks but was crippled by slapdash production, underweight writing, and the awful decision that they should try to rap.

And honestly, if I hadn't been aware that Dierks Bentley had intended The Mountain as a course correction, I would have been concerned similar tendencies could creep onto his work - it wasn't like he wasn't heading in that direction. He's always stayed a little adjacent to popular trends in the mainstream - which is one reason why he took off to make the bluegrass album Up The Ridge in 2010 - but several cuts on 2014's Riser took him perilously close to bro-country and Black was damn near a desaturated pop record, only saved by Bentley having better taste than many of his peers and deep cuts that tended to be of high quality - keep in mind that his song 'Here On Earth' made my top ten favourite songs of 2014 across all genres, he can be that good when he wants to be.

So yeah, I had high hopes with The Mountain - buzz was suggesting he was making a hard pivot towards heartland rock-tinged country and he was recruiting Brothers Osborne and Brandi Carlile to do so, and if there's a sound that could flatter Bentley's voice, it's that. I had every reason to believe this would be pretty damn solid at the very least - did he get there?

video review: 'so sad so sexy' by lykke li

Man alive, I wasn't planning on making this review... but overall, I wish this had been a lot better. 

Next up, Dierks Bentley (finally) - stay tuned!