video review: 'trench' by twenty one pilots

It's strange that it feels like I'm the one who somehow wound up being the most cool on this album of the YouTube critics. I mean, it's not bad - it's a good, thematically rich listen, but I'm not convinced the hooks are there and the songs are as gripping, and the sonic palette got really draining after a while. Just not really feeling it, I guess.

But next up... so much Lil Wayne, folks, it's a big album bomb coming, so stay tuned?

video review: 'grave mounds and grave mistakes' by a forest of stars

So this was a mess... honestly, I was tempted just to put this on the Trailing Edge, but I wound up easily having enough for a full review, go figure.

But of course, what everyone's really talking about is...

album review: 'trench' by twenty one pilots

Well, it's been a bit of a journey getting to this point... and I'm not even sure I can say that with a straight face, because I think what people think about my opinions around twenty-one pilots are very different than the actual reality, so I think it might help to bring folks up to speed.

So, twenty-one pilots. They started off the late 2000s and very early 2010s with two independent albums that fans in the Clique adore a fair bit more than they deserve - not that there wasn't good ideas but both records are desperately unpolished, leaving twenty-one pilots as one of the few groups that actually got better through signing to Fueled By Ramen in the early 2010s. This led to them putting out their major label debut Vessel in 2013, a genre-blurring mess of an album that I still wound up considering pretty great because the compositions and songwriting contributed to sharp hooks, a keen sense of self-awareness, and a few genuinely brilliant tracks. In 2015 they followed it with Blurryface, delivered even more polished compositions and then ascended right up their own asses with a blistering self-aware dissection of their newfound fame... and it's also their best album to date and one of the best albums of 2015. And if it sounds like these comments are phrased to intentionally annoy the Clique... well, they are, but it's all in good fun and with the realization that I'm a pretty big fan of this group too - I'm just also very much aware of when a band starts taking the piss out of themselves - which may have been the entire damn arc of Blurryface, for the record.

But I'll admit I was worried about Trench. Yes, the actual guitar on 'Jumpsuit' was exciting to me and the hope that this group was finally going to get some rock muscle was only encouraging... but I'll freely admit that there were warning signs about this project that made me wary. Because even going back two years later I did not like 'Heathens', and the less said about that butchering of My Chemical Romance's 'Cancer' the better, but both were signs that the band was starting to drown in their own veneer, and I wasn't sure a dystopian concept record was the way out of that, especially given that in my circles the hype seemed oddly muted. But hey, I still think this band is talented and having heard their blatant copycats and wannabes chase their fanbase, I was curious where they'd take their sound next, so what did we get with Trench?

album review: 'grave mounds and grave mistakes' by a forest of stars

You know, there was a time when I was starting to get into black metal that I was unsure if I'd be recommended acts I didn't like within the genre. That's the funny thing about extreme music and one reason why critics who don't exclusively specialize in it tend to hand out high scores more often, mostly because it's more organic. The good stuff rises to the top and picks up popularity, the bad or incompetent stuff just... doesn't, and winds up in the pits of obscurity.

Of course, the big exception to this rule is when a band slips into 'avant-garde' territory and is simply so unique that they seem custom-made for a cult following even if the quality isn't there - and on that note, A Forest Of Stars. I'll be very blunt and say that when I checked out their first few albums, I wasn't a fan whatsoever - and given my fondness for fantasy or at the very least Celtic folk tones you'd think they'd be up my alley, but with every listen I found the slapdash blend of black metal, quasi-futuristic psychedelic rock, and pompous neo-classical folk to be a total mess. Yeah, the poetry was okay, but the progressions were underwhelming, the production rarely rose above mediocre and nothing close to consistent, and the less I say about the attempted blend of male and female vocals, the better. I'll admit they got better with each passing album, but up until this release I'd only call them okay for some good violin work and some passable black metal segments, and I've never been a fan of the vocals across any of their projects. They reminded me a lot of Diablo Swing Orchestra, who at their best were able to balance the ridiculous camp with some genuine menace and chops but at their worst could come across as oversold and gimmicky, which is just as true about A Forest of Stars down to their fake origin story! And when I heard that this album was going to be revisiting sounds from their 2012 release A Shadowplay for Yesterdays - which is arguably where their theatricality picked up the most flop-sweat - I was steeling myself for a rough listen. How did it turn out?

video review: 'ysiv' by logic

So yeah, this was a tough one to push out... but now I'm heading into an overloaded October, and that means we've got twenty-one pilots next - stay tuned!

album review: 'ysiv' by logic

It's hard to believe it was just five years ago when I was openly praising a Logic album.

Hell, I think a lot of you remember my review of Under Pressure, his 2014 album that built on some pretty solid mixtape momentum and had some real significant weight to match Logic's flows and contemporary but distinctive boom bap production. I stand by that record as legitimately great, highlighting a rising talent who had great taste in production and a lot of ambition, which translated into his follow-up the next year The Incredible True Story which took his content into a space-themed concept record that couldn't quite stick the landing. And then he followed it two years later with Everybody that went for an even more ambitious and polarizing topic about being biracial in America that earned him even more backlash...

And yet it was that project that netted Logic his first massive smash hit, complete with guest appearances from Khalid and Alessia Cara he got a song with the title of the suicide hotline to break into the top 5. It hadn't been his first charting presence - the posse cut from Suicide Squad 'Sucker for Pain' gave him that, and it's important to note that his less conceptual, more mainstream mixtapes had a tendency to do very well on the Hot 100 - but the suicide hotline song set a narrative around Logic as an approachable, generally nonthreatening rapper who could flow his ass off but wound up speaking around platitudes that could feel misconceived or shallow... which yes, was something that had leaked into his songwriting on the albums, but I do remember when Logic had more to say and could stick the landing.

And I'll admit I had a bad feeling about this project in particular, coming hot on the heels of some particularly stupid comments that he made how he makes music for his 'fans', not hip-hop culture - a bit of a spicy statement and I guarantee it wasn't made with the Wu-Tang Clan in the room, even despite somehow getting a significant chunk of the members to contribute to a song on this album. But even calling the album YSIV was telling, an album follow-up to a series of mixtapes with four songs breaking the six minute mark and a lead-off single featuring Ryan Tedder's caterwauling on the hook. Suffice to say, I was not expecting this to be great or even good - was I wrong?

trailing edge - episode 009 - september 2018 (VIDEO)

So yeah, this took WAY too long to get finished... so enjoy?

Next up... Logic. Stay tuned!

billboard BREAKDOWN - hot 100 - october 6, 2018 (VIDEO)

So this came together pretty damn quick... nice stuff.

Next up... you know, this Logic album is so damn long, I need to knock out an episode of the Trailing Edge soon, so we'll see what comes first!

billboard BREAKDOWN - hot 100 - october 6, 2018

Okay yes, I'm very relieved it's a cooldown week... but look, in the era of the album bomb and with Logic and Lil Wayne set to do stupid numbers for next week, it's really not that much consolation that I get a breather here, especially if it comes at the expense of any analysis or predictions beyond 'well, Lil Wayne has a shot for a few top 10 debuts and maybe a shot at #1'.

video review: 'tha carter v' by lil wayne

Took a long-ass time to get here... and honestly, I have no idea whether this'll be enough to satisfy folks, but enjoy?

Next up, Billboard BREAKDOWN and we'll see where the chips fall on upcoming records, so stay tuned!

album review: 'tha carter v' by lil wayne

I don't think anyone can deny at this point that the hype behind this album has long ago eclipsed any impact it could ever make. 

And when I say that, I'm referring to artistic impact in the same way Lil Wayne drove a decade ago, because the sales and streaming numbers mean in terms of popular impact, it looks like Lil Wayne still has it. But I think even Lil Wayne fans grasp this, because I know even a fair few of them considered the possibility of this release like a pipe dream, the sort of project that remains shelved or unreleased to become the stuff of what might have been, especially when it came to Lil Wayne's stifled career over the past five years. But beyond the possibility, the largely unasked question - namely, whether Tha Carter V should be released at all - is a much dicier one. Folks forget that while his commercial clout was undeniable, Lil Wayne hadn't exactly been on a hot streak of quality in the 2010s. Between album concepts that felt unrealized or at the very least uneven and Lil Wayne struggling as both an MC and songwriter across mixtapes, albums, and even guest appearances, despite his undeniable influence his star had fallen hard and far. And with Tha Carter V developed in that environment, I don't even think it would be reasonable to expect a return to the glory days of Tha Carter II or III. At best I expected another overlong, messy project that could nail a few more hits than misses that would get better than expected reviews thanks to a relieved fanbase... and thus with my expectations safely lowered, did Tha Carter V deliver?

resonators 2018 - episode #009 - 'rites of spring' by rites of spring (VIDEO)

First video of the night... and man, it's a fantastic one. But now up for the main event...

resonators 2018 - episode #009 - 'rites of spring' by rites of spring

The tricky thing about this series was always going to be where the line was drawn when it came to genre. That's the tough thing when you're on the cutting edge and subgenres are forking off of subgenres, and considering how much music critics and fans love drawing lines, I could very easily run into trouble by covering this act under the umbrella of a series looking specifically at 80s hardcore punk. On the other hand, as I've stated a few times already it makes sense to look at what came out the hardcore scene in its entirety, and since I've gone through a fair number of the albums that set the foundations for the genre, it makes sense to examine what was built upon them.

So the year was 1985, and the setting was Washington D.C. - we've already talked about the D.C. hardcore scene surrounding Bad Brains and Minor Threat, but by the mid-80s the scene was shifting - the original wave of hardcore punks were entering their mid-20s and a whole new wave of teenagers were flooding into the scene, using the excuse of the genre to get more raucous and violent. Now the roots of that change in the scene are complicated - some of it was demographics, but a pronounced theme of that era was machismo. And to be fair, this was endemic across American culture in the mid-80s, a hypermasculine ideal reinforced by the Reagan administration and an economy that had picked up a lot of steam, to say nothing of a reactionary media climate that loved to brand punks as thugs or outlaws. This was an era of swagger, cockiness, and no fucks given, and even though hardcore had a left-leaning slant, it's always been more complicated, which meant not only did a lot of young guys push a very different ideology, they had the bravado to saunter in and use the show as an excuse to get violent. And while some punks who shied away from ideology flourished, a lot of hardcore acts were either evolving out of the genre or quitting altogether.

But in D.C., Ian MacKaye was not going down without a fight, and in 1985, he and various other members of his independent label Dischord Records began forming new acts for what would be branded as Revolution Summer, beginning an active pushback against aggression at shows and the sexism that was leaking into the scene. Many of the acts wouldn't last beyond laying the groundwork for bigger bands to come, but one has survived and has become what so many have branded as the genesis of an entire new genre just adjacent to the infant post-hardcore. That's right, folks, we're going there, we're going the only album released by the band widely considered as the inspiration of emo, the 1985 self-titled record from Rites Of Spring - and this is Resonators!

video review: 'budding ornithologists are weary of tired analogies' by milo

So this was a tough record to write about... I think I stuck the landing okay, but still, I can only imagine the response from the fans on this one, just like with Lupe.

But next up, Resonators, so stay tuned!

album review: 'budding ornithologists are weary of tired analogies' by milo

So the last time I reviewed milo, it was a very different experience... and if those of you who are now wondering where the hell that review is, it was last year when I was in Atlanta and connected with a few members of the Dead End Hip-Hop crew to film for Myke C-Town's channel. And as such, while I did have a chance to go in-depth surrounding my introduction to milo - fairly late in the game, I was never quite pulled on-board in the same way as many fans were with so the flies don't come, really came to like and appreciate who told you to think??!!?!?!?! as one of milo's strongest projects to date - I will stress that milo can be an artist with whom I have a bit of a distant relationship. It's the sort of music I need to be in the right mood to appreciate and dissect, give him plenty of listens to really decode his pool of references and oblique production, and as such while I thought his last album was great, it wasn't something I was in a hurry to revisit last year besides maybe the deep cut 'embroidering machine'. 

And as such, while I was gearing up for another round of abstract hip-hop fresh off of Lupe's massive release, this looked to be a lighter affair - where who told you to think??!!?!?!?! was a respectable length for fifteen tracks, this album didn't appear to have many songs breaking the three minute mark and was reportedly even more abstract and diffuse than the last album... which I'm not against, but I also remember saying that the immediacy of his last album was what I found truly gripping. But still, I wanted to give this some time to really sink in, so what did we get from milo this time on buddy ornithologists are weary of tired analogies?

video review: 'fortress of primal grace' by vallendusk

Man alive, I really did enjoy this - great black metal, sorry I got to it so late.

Now back to the hip-hop train and an episode of Resonators for which I'm genuinely excited - stay tuned!

album review: 'fortress of primal grace' by vallendusk

It seems like every damn year around this time I make the statement that I just don't feel like I've covered enough black metal... and to be fair, some of that has come with schedule complications I've been struggling to work through over the past several months, but this review has been overdue for long enough!

So, Vallendusk. I first covered the Indonesian band way back in 2015 when I working to get into black metal, and while I had really dug their breakthrough album Black Clouds Gathering from 2013 for flat-out insane guitarwork and some really striking melodic composition balancing acoustic passages with more atmospheric black metal, their follow-up didn't quite resonate as much as I had hoped, mostly through expanding their sound towards folk metal in ways that only seemed to detract from a rock solid core. And what got a little frustrating is that the talent was still very much there, but either through production missteps or the introduction of some awkward clean vocals and organs or just a few weird compositional choices held the project back for me. Still a good record, just not quite great... but for all intents and purposes, Vallendusk had redoubled on the raw atmospheric black metal this time around for Fortress Of Primal Grace, and while I'm extremely late to the party, that was effectively what I was hoping they'd do here. And considering nobody else on YouTube seems to have covered this, might as well be me - so what did Vallendusk deliver with this?

video review: 'DROGAS wave' by lupe fiasco

Yeah, I can't imagine this'll go well... but hey, it's a Lupe review, you kind of expect it when he's not releasing a record that's universally condemned. 

Next up... okay, either Vallendusk or milo, so stay tuned!

album review: 'DROGAS wave' by lupe fiasco

I wish I could say I was hyped for this.

Seriously, I do - I might have a complicated relationship with Lupe Fiasco's mixtapes and albums and the wild turns his career has taken, but to this day I'm still a fan. I'll still go back to Food & Liquor and to a lesser extent The Cool, and there are cuts even on Lasers I'll stick up for to this day! And if you saw my year-end lists in 2015, you'll see a number of Lupe Fiasco songs that made those lists and for damn good reason! And when I heard that he was going independent after Tetsuo & Youth I was excited for some high concept, ambitious hip-hop...

Which we didn't get with DROGAS Light. Let's not mince words, as much I really liked the song 'Jump' off that album, it could have been pitched to any major label willing to take a stab with Lupe's brand of pop rap and he'd have been mostly fine - and yet even on that basis it's a sloppy, overlong project seriously let down by its production and even Lupe's rapping. But more critically, it compromised my faith that Lupe Fiasco, outside of major label restrictions, might not make the best judgement calls when it came to his work, and I'll admit some big reservations stepping up to DROGAS Wave. Not only was it running an hour and a half, it was a concept album telling the story of a slave ship that had sank in the Atlantic and where the slaves had adapted to live underwater. And while I was inclined to say that Mick Jenkins kind of beat him to the punch with analogous metaphors as another Chicago MC, this did seem to be more like what I wanted to hear from an independent Lupe Fiasco, and I wanted to give this a chance, so what did we get from DROGAS Wave?

billboard BREAKDOWN - hot 100 - september 29, 2018 (VIDEO)

Man, quick rendering time helps me get these out so much faster... shame it was a rough week, though.

Okay, next up... I think it's time for Vallendusk and maybe one of these hip-hop records, so stay tuned!