video review: 'astroworld' by travis scott

Well, this was underwhelming, but thanks for sticking with me for a thousand video reviews! :D hope you enjoy the challenge, it's a bit of a nightmare - good luck!

Next up... well, I've got my own endurance trial ahead, so stay tuned!

billboard BREAKDOWN - hot 100 - august 11, 2018 (VIDEO)

Hey look, the Hot 100 was crap enough that I completely forgot to update here, go figure.

Anyway, the more important update is...

album review: 'astroworld' by travis scott

I've got conflicted feelings about Travis Scott. I liked him as a producer for his ability to deliver some forward-thinking, massive production, but then Rodeo happened and while many celebrated it for the wide range of collaborators and his uncanny ability to deliver terrific hooks, many of the tones and heft I liked about his production had evaporated, especially around Travis Scott as an MC who could assemble a decent flow but was far from lyrical or all that interesting. Then Birds In The Trap Sing McKnight happened... and contrary to pretty much everyone, I actually liked that more than Rodeo - I don't know what to tell you, the production and hooks clicked more strongly, the collaborations were more consistent, and while the content was borderline nonsensical, it at least felt more cohesive. Less experimental or challenging, sure - and that Huncho Jack collab project with Quavo didn't help matters - but for the first time the appeal started to click.

And then I saw Travis Scott live, opening for Kendrick Lamar, and what might have clicked before really connected there, but left me with more questions. Travis Scott could be such a force of personality on stage, a consummate hype man and real personality, so why he's tried to dampen it with so many slurred-over layers and effects or muffle it with overloaded lists of guest stars is utterly beyond me. And when I started seeing the critical acclaim piled onto Astroworld... look, I wasn't sure what to expect at this point, but I did see he got Pharrell, The Weeknd, and Tame Impala all on the same song, so the spectacle might be worth the price of admission. So what the hell, how is Astroworld?

video review: 'rituals' by deaf havana

Man, I really wish I dug this a lot more than I do... eh, it happens.

But I'm coming up on the 1000th review... and I've got something special bundled with that, so stay tuned!

billboard BREAKDOWN - hot 100 - august 11, 2018

You know, sometimes you just want to take the cooldown weeks when you can - given the streaming numbers I know Travis Scott has an album bomb coming for Astroworld, and while I haven't reviewed the record proper just yet, I can only imagine how big the impact will be on the rest of the Hot 100... joy.

album review: 'rituals' by deaf havana

I've said this a number of times before, but about eighteen months ago, if you had told me that Deaf Havana would have wound up with a record on my list of the best of 2017, along with multiple songs making my other lists... well, I wouldn't have called you crazy, but I would have been extremely skeptical. But that's because All These Countless Nights by Deaf Havana isn't the sort of record that folks would expect to put on year-end lists - the production was arguably less colorful than their previous record, and the mood had taken a severe turn for the melancholy. It was a record wracked by drifting numbness, and I'm not surprised at all that it didn't resonate for everyone.

And yet for me it really did, mostly because the hooks were as strong as ever and the writing had improved by leaps and bounds - and I want to highlight that specifically, because that's the sort of advancement for a band that puts them in a higher tier, regardless of their sound. If you're great composers and lyricists, even if the production doesn't go your way you'll have a layer of underlying quality, and that gave me a lot of hope going into Rituals this year. Yeah, the buzz was not nearly as positive in comparison to All These Countless Nights, mostly thanks to the band making a pivot towards pop tones like every other rock band going right now, but I wasn't against this in theory: they've always had a strong pop undercurrent when it came to melody, and it's not like I'm against retro-80s pop rock on principle, so what did we get out of Rituals?

trailing edge - episode 007 - july 2018 (VIDEO)

And here we are... goddamn, this took way too much work to finish.

Anyway, let's move on to the next album on the docket, and this'll be tricky... stay tuned!

movie review: 'christopher robin' (VIDEO)

So I wasn't kidding when I said that I loved this movie - I genuinely do, it's so goddamn touching and subtle and beautifully consistent in themes and tone, just absolutely wonderful. I think that it won't resonate for everyone as much as it did me, but still, SO damn good!

video review: 'vicious' by halestorm

Okay, first to catch up on some old business by posting this, but that's not all that's coming...

album review: 'vicious' by halestorm

The last time I reviewed Halestorm, it didn't go very well.

Actually, that's probably putting it mildly, given that this a band I've repeatedly tried to get into and have felt consistently let down time and time again, be it by underwhelming writing, unexceptional melodies, or inconsistent production, the last of which utterly crippled any enjoyment I got out of their third album Into The Wild Life, produced by Jay Joyce seemingly before he hit his stride later that year. And from there, I'll freely admit Halestorm has not been on my radar whatsoever. And with their new album... well, it showed up on my schedule and they'd gotten rid of Jay Joyce, but they'd replaced him with Nick Raskulinecz, who you might know better for producing the comeback records for Alice In Chains and chunks of the more mainstream-accessible Mastodon records, and the last underwhelming Rise Against album... and the worst Ghost album.

So okay, not precisely a good sign, and I'll freely admit I was skeptical when I saw the band professing that this was going to be the one where we truly see all sides of the band and this was the one that was going to win us over... and I hate to be that guy, but I've heard this press run before at least twice, and while it seems like a fair number of critics were won over here, I'll admit I had low expectations. So what did we get with Vicious?

video review: 'lifers' by cody jinks

Hmm, a little surprised there hasn't been much of a backlash to this one yet... eh, I guess we'll see how it ages.

Next up... well, I don't have a ton to say, but I might as well talk about Halestorm. Stay tuned!

album review: 'lifers' by cody jinks

I'm not going to claim to be ahead of the curve when it came to covering Cody Jinks in 2016. I was aware of his name and a few of his projects, especially his excellent Less Wise, but when I was going into I'm Not The Devil right before I took off for vacation, I was expecting a pretty damn solid Texas country record and that's effectively what I got...

And then it seemed like the floodgates burst open, and Cody Jinks' name started getting passed around a fair bit more beyond just the indie country and Texas country circuits, and I can tell you right now it didn't have much to do with me. No, if there was an unsung strength of I'm Not The Devil it was how Jinks leveraged the thickness and dramatic heft of his sound with an approach to melodic hooks that honestly reminded a bit of Garth Brooks in terms of composition. I might gravitate to the rougher textures of his earlier projects like Less Wise and 30, but I'm Not The Devil balanced that with some of his best ever hooks, and that got people to take serious notice - he moved a surprising amount of units, and given how much he's risen it's hard not to think he's on the cusp of a serious grassroots breakthrough to rival most of the indie scene right now. So you can bet I was eagerly anticipating his follow-up this year Lifers, which critical buzz did not place as his best work, but still great all the same. Okay, still cautiously optimistic, how did it turn out?

billboard BREAKDOWN - hot 100 - august 4, 2018 (VIDEO)

So this was... generally pretty okay, I think. Yeah, let's go with that.

Next up, Cody Jinks - stay tuned!

billboard BREAKDOWN - hot 100 - august 4, 2018

You know, I'm always hesitant about saying the charts are back to 'normal' at any point, especially in 2018 where we have album bombs every other week and especially in comparison to years where we got fewer entries... but outside of one new top ten entry in particular, this week was pretty typical. Not precisely great by any margin, but it doesn't appear to be that bad either...

video review: 'TA13OO' by denzel curry

Yeah, not that surprised about some of the blowback from this one. Eh, it happens.

Next up, Billboard BREAKDOWN, stay tuned!

resonators 2018 - episode #007 - 'double nickels on the dime' by minutemen (VIDEO)

Have to say, I'm really proud of how this turned out, especially with as much work as I put into it. Definitely take the time to find this record, it's something special!

movie review: 'mission: impossible fallout' (VIDEO)

Yep, definitely got some backlash on this one... and while I'm not surprised, I'm a bit annoyed at its intensity, especially considering the fans will forget this exists in a month.

Anyway, let's move on to something FAR better...

album review: 'TA13OO' by denzel curry

So I always tend to get a flurry of comments whenever I cover trap music or Soundcloud rap that it's not intended to be lyrical or deep, it's just looking to be flashy or brutal or direct, relying on sheer raw power or its presentation to stick the landing. And while there is some truth to this, my counterargument is always 'well, you can have both, you know', as there's such a thing as visceral, hard-hitting hip-hop that can also be fiercely lyrical - Kendrick Lamar, Doomtree, Run The Jewels, Sage Francis, Death Grips, etc. Now the counterargument to that is often, 'well, it's too underground or too conceptual or too weird, what about easier subject matter?' And then I point at ScHoolboy Q, Jay Rock, Styles P, Freddie Gibbs and you all get my point, but then the feeble defense is 'well, they're older and more traditionalist and I can't relate', so then I point to BROCKHAMPTON and that does tend to work, but then you get the charmers who get put off by all the gay content and who argue how they just want a new MC that appeals to pure trap rage for teenage white boys to live out the fantasy - because it is always white boys here. 

And while my natural inclination is to be dismissive and vaguely contemptuous - too late - my other response is point at Denzel Curry and say, 'are you happy now'. Most often their answer is no because they want me to validate their Soundcloud waifus who make me think they really should reconsider BROCKHAMPTON, but I honestly think Denzel Curry hits a really damn satisfying middle ground, especially coming off of his 2016 project Imperial. Explosively melodic production, bellicose but well-structured flows, and the sort of layered, self-flagellating content that unfortunately saw a lot of people dismiss his material as shallow but revealed significant depth in between the lines. Now my perennial issue with Denzel Curry has been on the production side, but when I heard that TA13OO - album complete with edgy spelling - had opted for even more abrasive and explosive production, I was definitely curious, especially as noisier experimental hip-hop is still relatively uncharted ground besides Death Grips and blowing out your subwoofer. So okay, what did we get from Denzel Curry on TA13OO?

resonators 2018 - episode #007 - 'double nickels on the dime' by minutemen

So when I started Resonators my general expectation was that I was going in cold - I might recognize a couple singles from punk compilations but beyond that I wasn't really familiar with the records I'd be exploring at length... but there was always going to be one exception, and it's this one.

And to explain why it's an exception, we need to go back to 2015, when I reviewed Return To The Moon by EL VY, a side project from the frontman of the National Matt Berninger that's one of the most criminally underrated and satirical projects of the decade, not to mention one of the best of the year. Throughout that record, Berninger repeatedly made reference to the band we're talking about today, Minutemen, a signee to SST and who started putting out records in the early 80s, alongside Black Flag and with Spot on production. But it rapidly became apparent that for as quick as Minutemen were in cranking out songs, they were significantly more ambitious than most of the hardcore punk acts we've covered here, dabbling with bassy post-punk even earlier and picking up chunks of jazz and experimental rock as they moved forward. Now of course it helped that the band was really good, thanks to D. Boon's jittery guitarwork and wild, guttural vocals, Mike Watt's frenetic basswork, and George Hurley's pretty damn solid drumwork, all of which fed into songs that could be as witty and genuinely funny as they were catchy - this was a group that relied more on raw wit than bellicose presence, making their first two records, both well-deserving of their critical acclaim, really stand out amongst their peers. And yet in 1983, when they heard their labelmates Husker Du were putting out a double album, they went back into the studio to expand their single disk into what some have held up not just as a hardcore classic, but one of the best records of the 1980s - a four disc, eighty minute beast overstuffed with ideas, inside jokes and off-kilter abstraction. And it's this record for which I started exploring back when I covered EL VY... and now I'm back to finish the job. That's right, folks, we're talking about Minutemen's Double Nickels On The Dime, and this is Resonators!

video review: 'marlowe' by l'orange & solemn brigham

So this was great, definitely going to be overlooked by a fair number of folks this year (sadly), but definitely is worth your time, check it out!