video review: 'blue madonna' by BØRNS

Well, this should be way better than it is... gah, it happens, I guess, but still, I'm not sure that Lana influence is doing him any favours.

Fortunately, the next act uses all his momentum to fantastic effect even if the project is short, so stay tuned!

album review: 'blue madonna' by BØRNS

The more I think about BØRNS as an artist, the more I get the impression there is less to think about than I'm assuming, that he's actually less interesting than he might appear. 

Granted, some of this is not helped by me covering his debut Dopamine a full year after it was released for my anniversary in 2016, where he felt all the more out of place in the larger context of the year. But even with that there's a part of me suspicious that the image and flair was more compelling that BØRNS himself would ever be, considering he didn't quite play to his strengths as a singer and he had a bad tendency to indulge in production gimmicks and lyrics that felt increasingly hollow in their hyperstylized Americana, especially considering there was often a rock-solid glam and pop rock core to many of his compositions. It was a good project, but it's not one I found all that memorable just a year and a half later.

And thus I was skeptical about Blue Madonna - I drew comparisons to him sounding a little in his delivery and content and production like Lana Del Rey, and look who has two guest appearances on this project! And when you consider he pruned away all other producers and cowriters besides Tommy English, it was hard to avoid the feeling he might be doubling down on influences that didn't always flatter him, but could result in a more focused experience overall. And hey, Lana Del Rey has steadily been getting more tolerable, maybe this would be pretty stylish or fun, right?

video review: 'offerings' by typhoon

So I'm not making any fans with this review... but then again, I said that right at the very beginning, I'm not surprised here.

Right, so next up is BØRNS, and that'll be coming tomorrow... then probably some quick Ron Gallo as I start work on the next top ten, so stay tuned!

album review: 'offerings' by typhoon

Oh, I'm not going to make any fans with this review. 

And part of this starts with an observation about the increased commercialization of indie rock, because there's really two distinct schools of it nowadays. You have the roughscrabble upstarts where if they get any crossover appeal it comes by fluke, where the textures or vocals or presentation or content might be offkilter or abrasive, but there's something about it all that sticks, usually in the fine details of great compositions or smart writing or just a damn solid understand of their strengths.

And on the flip side you have the indie groups that are flagged as 'indie' because they're just quirky enough to not fit mainstream pop or rock but safe enough to play for your average gentrified afternoon beer-run and picnic in the park. You know the groups, the ones that a decade ago would be called adult alternative and will be soundtracking comfortable middle-brow sitcoms and commercials for a steady paycheque - and that's not always a bad thing, for the record. Hell, I'd probably put The National in this category, and they're a genuinely terrific band even despite that last record - but I always get worried when I start hearing about groups in this vein branded as 'experimental' or 'progressive', because more often than not they're labels used for cheap marketing to disguise pretentiousness or a lack of cohesion while never being truly challenging. And even then, it can still work - look at Elbow, even though I'd argue they're more just straight progressive rock - but on the flip side you get acts like alt-J, and the group we're discussing today, Typhoon. They broke out in the very early 2010s and I can emphatically say I'm not a fan, mostly because they have the sound of a profoundly boring and stuffy group that tried to substitute wonky song structures for depth and experimentation. Some critics tried to compare them to Arcade Fire for their massive lineup - they have a horns and strings section - but it holds shockingly little water to me, mostly because even at Arcade Fire's most pretentious and least earnest they could still write a decent hook or had some interesting production. With Typhoon it always felt way too clean and sanitized, with the content on records like White Lighter trying to bring an edge but with no clear idea how to do so in production or composition - out of nowhere tempo shifts and transitions don't always make you progressive; without a foundation, you're just obtuse.

So yeah, not a fan, but apparently their newest record was their most ominous and sonically demanding, so either someone in the band decided to grow some testicles or a spine and they had somehow managed to stick the landing on this fourteen track, seventy minute album, or it was going to be the biggest mess they ever made. So, what did we get?

billboard BREAKDOWN - hot 100 - january 20, 2018 (VIDEO)

So for as short as this is, it actually wound up going up pretty late... hey, what I can say, I was busy.

But not enough that something might be dropping early this evening, so stay tuned!

billboard BREAKDOWN - hot 100 - january 20, 2018

I feel like this week is close to the flip side of the coin to the last - and I'm honestly not sure if that's better overall. Where last week the Top 10 was fairly static with a huge amount of upward movement and no significant losses - with a relatively small number of new arrivals - this week the top ten saw major disruption, the gains were pretty modest, and the losses and dropouts were quite significant... all with a relatively small number of new arrivals. Now, whether this makes this week better remains to be seen, but I'd argue it does seem to be a return to form, and thus is a little more interesting overall.

movie review: 'paddington 2' (VIDEO)

Well, this was a sweet little movie... and I think the last post for tonight. I need a little more time to finish editing for Typhoon, so thus Billboard BREAKDOWN is likely up next - stay tuned!

video review: 'encore' by anderson east

And here's the first video of the night... man, I wish I liked this a bit more. It happens, and it's still a damn good project too.

Next up, a movie review - stay tuned!

album review: 'encore' by anderson east

There's a part of me that thinks it's a little ironic that only days after releasing my top ten best hit songs of 1967 I'm now talking about Anderson East in 2018, and if you saw that list and my lengthy discussion surrounding white people cribbing from black music, you might see why.

Granted, the conversation about this brand of R&B and blue-eyed soul is complicated and has been for decades, with some highlighting it as conducive to cooperation while others consider it cultural appropriation, that dread phrase that's bound to make my comment section just a joy to behold. Of course, with blue-eyed soul you could make the argument it's more about cultural exchange and there's a certain code that should be understood by the artist: if you're going to use that sound, understand the history, bring respect, help to elevate those who pioneered the sound as much as you can, and you better not suck. And thankfully Anderson East seems to get this: his breakthrough came in 2015 with the album Delilah, produced by Dave Cobb and even partially recorded in Muscle Shoals, Alabama, which made sense for the hardscrabble blend of Americana and southern soul he was making. Of course, you all might know him better for two things: one, he's currently dating Miranda Lambert and showed up on her 2016 project The Weight Of These Wings, and two, he was also on one of the most fiery tracks on Southern Family, the Dave Cobb-produced compilation that was one of two records I've ever given a perfect 10 on my channel. Suffice to say with his release this year the expectations were high, and considering how good the critical buzz was, they had every reason to be. So, with the hope that we can redeem this album title from Eminem's critically reviled 2004 record, what did we get with Encore?

video review: 'camila' by camila cabello

Well, this was inconsistent... and disappointing. But really, I'm not all that surprised...

Beyond that, next up is Billboard BREAKDOWN, Anderson East, and hopefully Paddington 2 soon, so stay tuned!

album review: 'camila' by camila cabello

So there's an unspoken and kind of uncomfortable truth about a lot of pop music: while it helps to have talent, if you're in the right place at the right time with the right people, it doesn't matter if you do or not, you're going to find success. Hell, on average you'll probably get even more famous than folks who have talent but are lacking in either the place, timing, or people department - and thus on that note, Camila Cabello.

Okay, that's really mean, I admit it - but there's also always been some truth to it and not just about her - hell, more than I think a lot of people want to admit. I remember both of my Fifth Harmony reviews when Camila was with the group and she was always the weakest link, both as a singer and an interesting pop personality, and when she left I thought Fifth Harmony got better on their self-titled release - and yeah, I realize I'm pretty much the only one who thought that, but I stand by it. And when Camila Cabello started releasing singles and collaborations, I was fully expecting her to flame out like other girl group acts going solo - I'm not too young to forget Nicole Scherzinger and what happened to the Pussycat Dolls. 

But then 'Havana' happened - and I remember what I said when I reviewed the song on Billboard BREAKDOWN, it was the first time I actually had a hope that Camila could release something worthwhile... but when you have nine cowriters including Pharrell, you can almost hear the pop machinery muscling this into becoming a hit - as much as people don't want to admit it, the system can still do that. And thus it was only a matter of time before we got a new album - short enough that it probably didn't cost too much, even though it's not like Syco spends money on producers anyway, but also released in mid-January when there's literally no competition and if it flops they could cut their losses. Now if you can't tell, I was not expecting to like this, especially coming with the forgettable follow-up single 'Never Be The Same' - but hey, 'Havana' was a good surprise, this could be too, right?

the top ten best hit songs of 1967 (VIDEO)

Ooh wow, this was a ton of work (and I'm a little annoyed so many of the transitions fucked up, GAH), but I'm still pretty proud of it all the same.

Okay, next up, back to something from this year - stay tuned!

the top ten best hit songs of 1967

So when I added the 'top ten' option on Patreon, I was expecting that certain years would attract more attention than others - presumably more recent, if only to flesh out other years in this decade that I've missed, or maybe years that have achieved fame or notoriety for being the best and worst in music history. And thus, I shouldn't be that surprised that a Patron chose this year of all things - after all, from about 1964 to 1969 has been considered by many music historians as a glorious age for popular music, the founding of psychedelic pop and rock, the expansion and growth of soul, the genesis of garage rock and proto-punk, and even birthing tones that would inspire funk, and 1967 was smack in the middle of it all...

And this is where I need to step in and provide some context, because for as much as all of that is true about the era, in looking at what was popular the sheen of baby boomer nostalgia begins to fade, because while 1967 was a pretty damn great year for the Hot 100 - I could easily make a top 30 of this list and still make painful cuts, I wouldn't quite qualify it as one of the all-time best - close, but not all the way there, especially if you're making a comparison to either '66 or '68. Yes, watching psychedelic rock take shape is pretty awesome and there are loads of classics here, and I was actually a little stunned how much terrific soul, jazz, and very early funk managed to slip onto the charts. But this was also the 1960s and the tropes that plagued that era - especially in its early years - are still visible. Yes, we got The Beatles and the summer of love... and all the bands jacking their sound two years late, or dumbing it down into flaccid hippie pablum. Yes, black music was producing terrific records... and white artists were nakedly ripping them off for crossover success. And of course we got the sorts of inane novelty crap and tepid pop and doo-wop leftovers that could flesh out a list of mediocre to outright awful tracks - an era where 'parody' songs or blatant throwbacks could still chart as artists fought against the rapidly changing times. Thankfully, after going through all one hundred songs that charted that year, we're focusing on the positive this time... and are subsequently facing a very new challenge. See, rock historians have been over the 1960s time and time again to canonize so many acts that if my choices buck the popular consensus - and spoilers, some of them will - or if certain songs are left off the list, there'll be folks who'll cry foul that certain 'legendary' songs are not represented. And let me make this clear: I'm not speaking for the institution of rock history, partially because I'm decades removed from ever living that history - this was music made when my parents were kids - but also because as that rock history has proven increasingly selective over the years, maybe a fresh set of eyes can recontextualize this a bit. So, as always the song has to debut on the Hot 100 in 1967, and let's get started with...

video review: 'TRIDENT WOLF ECLIPSE' by watain

Well, I'm not going to deny this black metal is a little outside my comfort zone... but hey, it actually wound up closer to something I'd like more than I expected. Interesting review, to be sure.

Next up... I'm not sure, we'll see!

album review: 'trident wolf eclipse' by watain

So when I've talked about black metal, I haven't really talked much about record labels - and that's mostly because as a frequently controversial metal subgenre that has remained almost entirely underground, most major labels and distributors don't touch it, and that suits groups just fine. Now on the one hand that can make finding certain black metal records a real pain in the ass, because distribution can be limited and scarce... but on the flip side, if you hear that a black metal group signed to a major label or distributor, more often than not you could give odds that the group will have diluted or diversified their sound.

Now granted, when it came to Swedish black metal act Watain in 2013, some of that you could have predicted already. While their early records did showcase some impressive shredding and a theatrical brand of theistic Satanism - which of course led to the sort of elaborate live show that was intensely controversial - I personally never found them all that challenging or abrasive. The production was always pretty clean, the vocals were never too guttural, and the song structures felt more accessible. And by the time they signed with Century and put out The Wild Hunt, openly dabbling in tones that were more progressive or doom-inspired with even clean vocals, they were primed for that crossover and had the sales to prove it, even the atmosphere, intensity, and writing had taken a bit of a dip along the way... and then close friend of the band and occult rock artist Selim Lemouchi committed suicide. It was a moment that shook the band deeply and drove them back to expanding on the desperate dark empowerment themes that characterized their full-length debut in 2000, a truly nasty little album that might have textures that'll satisfy black metal purists, but really doesn't showcase the refined compositional strengths that would start to come later on Casus Luciferi. So if they were going back to that tone and style as seasoned veterans, this could make for a pretty damn potent listen, right?

video review: 'ephorize' by cupcakKe

So I feel like I may have surprised some people with this.

Good. Surprises are fun. And on that topic, coming up next... well, it's been too long for a genre like this. Stay tuned!

album review: 'ephorize' by cupcakKe

I should have been a lot more on the ball with CupcakKe.

And I know for a fact that me making that statement will surprise or even confuse some of you, especially if you have only a passing familiarity with this Chicago MC. If you only know her from her image or reputation for making hyper-sexual, confrontational bangers in the vein of a Lil Kim or Missy Elliott or early Nicki Minaj, you might have been inclined to dismiss her as a viral sensation but not having much beyond that. And thus when I started getting requests to cover her third full-length record Ephorize early this year, I was inclined to blow it off... but I didn't have much else on my schedule so I figured I might as well check out her first two records.

And I'm so glad I did, because while she does have some songs that fit this image, CupcakKe is one of the most impressive new MCs I've heard in some time, no question. A ton of charisma and real stage presence, a diverse set of colourful flows that rhyme and connect way more consistently than so many of her male counterparts, and while she might make those provocative sexual songs, she was just as capable of bringing explosive bangers and starkly emotional and vulnerable tracks with real intimate intensity and intellect. Coupled with a fervent desire to remain independent and an uncanny knack for accessible but hard-hitting production, she showed a ton of real potential that I really appreciated. Now I wouldn't quite say I was entirely won over by either Audacious or Queen Elizabitch - both very good projects, for sure, but the former had a few sung hooks that are definitely not CupcakKe's strong suit, and the latter indulged in more trap-leaning production that didn't always flatter her, a little too desaturated and narrowly focused. But all the buzz was suggesting that Ephorize manage to strike the right balance and I wasn't going to miss out this time, so what did we get here?

billboard BREAKDOWN - hot 100 - january 13, 2018 (VIDEO)

And here we go... not a great week, but I think it was somewhat interesting overall? Eh, you never know.

Next up... well, the schedule is pretty open-ended, so you never know. Stay tuned!

billboard BREAKDOWN - hot 100 - january 13, 2018

So remember when I said last week I was expecting a slowdown... well, thanks to three factors I'd argue I was probably wrong in that department, because if you're looking a certain shifts in the charts, you might conclude it was a pretty busy. Now that's not entirely the case - indeed, look into the details and you'll see a pretty average or even slower week - but I would say it is more transitory, as the holidays rotate out for whatever's coming.

video review: 'ALL POSERS MUST DIE' by SEX MASTER

Well, this was fun. Not sure how many of you are going to be into it, but I'm happy I got to cover it regardless, there's definitely an audience that'd love to hear more of this.

And next up, Billboard BREAKDOWN - stay tuned!