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!

album review: 'marlowe' by l'orange and solemn brigham

So I'll freely admit I don't cover or listen to a lot of instrumental hip-hop. I'm not against it by any stretch - especially when the producers bring in a more grainy, textured collage of samples that can have its own distinctive personality and tone, that's so up my alley - but it's the sort of thing for which I need to be in the mood, and where I want to do my due diligence ensuring I understand the producer's foundations, which can involve some lengthy listens.

Such was the case for L'Orange, producer affiliated with Mello Music Group and who has been steadily putting out both instrumental projects and collaborations with MCs across the 2010s... and I'll admit that I might be more of a fan of his production than the rappers he brings onboard! There's a warmth and aged grime to L'Orange's collage of samples pulled from old movies and an uncanny knack for blending them into low-key but remarkably catchy grooves - some have cited comparisons to Madlib but across more projects I'd argue L'Orange's work can feel a bit more cohesive and understated, pulling from a different, older set of reference points for his recontextualization... so much so that I'd argue some MCs just aren't quite in sync with his thematic ambition. Now he's definitely had his high points - my favourite might be The Mad Writer although last year's The Ordinary Man had a special kind of magic to it - so I was optimistic when I saw he was teaming up with Solemn Brigham, who had done reasonably well in his features on that last album and were set for a full-length self-titled collaboration under the name Marlowe. Seventeen tracks, but clocking below forty minutes to keep things surprisingly brief, I was definitely curious where this could go, so what did we get from Marlowe?

billboard BREAKDOWN - hot 100 - july 28, 2018 (VIDEO)

So bit of an overstuffed week, but it happens - I'm frankly amazed I just managed to get it out on time.

But next up... again, as I said, underground. Stay tuned!

video review: 'hive mind' by the internet

Yes, it's more of a vibe project than anything, but it's got its charms... I just wish I liked it a bit more. Still good though.

Next up... let's go underground for something weird, stay tuned!

billboard BREAKDOWN - hot 100 - july 28, 2018

And here I was thinking this week was going to be easy. Well, okay, all of that has to be put in perspective - we were going to see the continued fallout of Drake songs, but what threw me a bit was how neither Future or Meek Mill could sustain much coming out of last week, which led to a healthy crop of new arrivals that probably makes this chart as interesting as it's been in some time... for better or worse.

album review: 'hive mind' by the internet

So groups like The Internet pose an interesting quandary for me - over the three albums they've released I've consistently noted a general upward trajectory when it comes to their quality, but they seem to be sidestepping singular elements in their sound that could have made for a great record with a little more refinement. And yes, I even include their debut Purple Naked Ladies in that category, which in terms of synth choices was legitimately ahead of their time. But frontwoman Syd hadn't really evolved as a presence behind the microphone in her delivery or her lyrics and the band didn't have a lot of focus so the record got mixed reviews at best. Then they followed it with a slightly more polished but also more conventional and neo-soul/jazz affair with Feel Good, which featured some of their best ever playing but Syd hadn't really improved and many of the songs just so happened to go on way too long.

So then fast-forward to 2015 and Ego Death, the record where The Internet started getting real critical acclaim, mostly thanks to Syd seriously stepping up in terms of songwriting and delivery - sure, Jhene Aiko had a similar delivery and overall was more compelling to me, but this was territory I liked. Unfortunately, it came with the band opting for a much more conventional R&B affair - especially in the more leaden percussion lines - and while the band had tightened things up a little bit from Feel Good the compositions didn't quite have the textures and tone for me to get on-board nearly as much as I wanted. And in the mean time, their backing crew Odd Future collapsed and while The Internet had always been more out of their orbit with each record, so I had no clue where this was going to go - it was still almost an hour long, so it didn't look like things tightened up that much, and buzz was suggesting this was more of a 'go with the flow' vibe album... which is kind of a loaded proposition because The Internet had never had a problem with this - in fact, I'd probably say my biggest issue is that they could have a tendency to fade into the background. But fine, what did we get with Hive Mind?

video review: 'the tree' by lori mckenna

Yep, already said plenty in the review: one of the best records of 2018, definitely make sure you hear it.

But on the flip-side of that... well, that's not fair, it's not quite bad, per se... just stay tuned!

album review: 'the tree' by lori mckenna

So here is how the average music fan discovers Lori McKenna. They may have noticed her name alongside mainstream acts like Tim McGraw and Little Big Town in the credits of Grammy wins, or her own justifiable set of nominations. More likely they've seen her name pop up among certain indie country critics in the know praising her record The Bird And The Rifle, maybe even ringing up praise as one of the best records of 2016. And then they check out that record to discover it's goddamn amazing from McKenna's songwriting to Dave Cobb's production and makes them all ask the question why the hell they hadn't heard of her before - and then they discover that McKenna has been putting out records since the early 2000s and was once signed to a major label for other releases like 2004's Bittertown and 2007's Unglamorous, so how in the Nine Hells did she fall off everyone's radar? It couldn't have been just going indie, because 2011's Lorraine was damn near a masterpiece...

And keep in mind it's not just me who has gone through this arc of discovery - hell, the self-professed 'dean' of music critics Robert Christgau freely admitted he lost track of Lori McKenna and then made up for it by covering the majority of her discography en masse and then writing a well-deserved profile piece! But it's sadly not uncommon for music critics and listeners even in the internet age to lose track of indie country acts, especially ones who are not flashy or actively seeking the spotlight - and in comparison with other genres, country is still years behind when it comes to web presence and the sort of audience that that would love McKenna's music if only they knew it existed. And that means I wanted to make it a serious priority to cover this album as soon as possible... so what did we get from The Tree?

video review: 'time will die and love will bury it' by rolo tomassi

So I will freely admit I did not expect for this to be nearly as good as it was, especially given their previous records... but yeah, I really did like this months late to the punch. If you haven't heard it, you definitely want to find time to do so, it's great!

Next up... well, I'm working on a top ten, but man that Lori McKenna looks tempting... stay tuned!

album review: 'time will die and love will bury it' by rolo tomassi

So this one's been taking its time rising up my schedule... and one that I've been rather perplexed about covering, not just because of its critical acclaim but also because it's received some popular backlash for possibly simplifying and streamlining their sound, which may have been that step needed to win over critics but would have alienated the diehard fans.

And speaking as someone who is definitely not one of those diehard fans, some of that might have been helpful, because Rolo Tomassi are not exactly close to an accessible act - screamo vocals balancing with female clean singing, wild shifts in time signatures and structure that recall something closer to jazz fusion than progressive rock or even mathcore, and let's not forget the synth tones that somehow picked a mutation of chiptune that gives me a splitting headache every time I listen to them. Yeah, let's not beat around the bush, having listened to all of Rolo Tomassi's records, I had a really hard time getting into them - sure, I can respect the sheer talent and there were some of the more restrained, atmospheric moments I liked, but I also get the impression that said moments were not the ones that are winning over the most acclaim from the diehard fans. But hey, Astraea was heading in a slightly more refined direction - as was Grievances in its own twisted, much darker way - and if Rolo Tomassi were looking to double down on those tones for future releases or even just accessibility a decade into their careers... well, it's a balancing act. So how is Time Will Die And Love Will Bury It?

video review: 'lamp lit prose' by dirty projectors

Okay, so this was a mess... but again, I haven't seen much of a backlash yet, so this'll be interesting...

Next up... well, the record I was looking to cover I'm saving for a possible collab, and then there's a top ten list to work on, so maybe it's time to go into the backlog for what's next... stay tuned!

album review: 'lamp lit prose' by dirty projectors

So stop me if you've heard this one: a rock band breaks out in the mid-2000s, releases a critically acclaimed record in the last few years of the decade... and then abruptly, everything seems to go awry, as what many critics perceive as the greatest draw of the group depart, leaving a solo frontman who decides to double down on his own ego and talents under the band name for an increasingly pronounced pop pivot with questionable returns...

But enough about Panic! At The Disco, we're here to review Dirty Projectors, right? And the parallels aren't that exact - Dirty Projectors managed to get a second well-received record off of Bitte Orca with Swing Lo Magellan before a sizable chunk of the band quit, even if my opinions on the band remain pretty mixed to this day - but the more I thought about it the more it kind of fit in a twisted way. Hell, delve into the songwriting and it's not hard to see similarities between David Longstreth and Brendon Urie in wildly overwritten ego-driven posturing, especially in the face of Urie losing his entire band and Longstreth facing the departure of both Angel Deradoorian and Amber Coffman, whose unique harmonies would probably be highlighted as the most distinctive facet of the band to any casual fan. And then you have to look at them both doubling down on long-standing influences, with Urie focusing on musical theater and vintage pop and Longstreth stepping into a weird R&B/indie pop blend on a self-titled project that may have been passable but felt way more awkward and uncomfortable than it should have, especially in the content. But hey, now Longstreth is looking in a more positive, upbeat direction with an album cover that seems to be openly aping Bitte Orca - a loaded callback if there is one - so hopefully this would connect more strongly, right?

billboard BREAKDOWN - hot 100 - july 21, 2018 (VIDEO)

Sorry this is late, folks - fell asleep while the damn thing was rendering, whoops. 

Anyway, next is Dirty Projectors, so stay tuned!

billboard BREAKDOWN - hot 100 - july 21, 2018

Okay look, I knew that any cooldown week coming out of an album bomb like Drake's would not be small, if only for the massive shifts within the Hot 100 itself... and then I remembered that both Future and Meek Mill dropped projects that so happened to get some traction within their circles - two projects that I'll freely admit I forgot about because nobody cared to request either of them. And when you factor in the twenty one pilots breakthrough that's likely to get pretty big pretty fast... yeah, this week wound up busier than I thought, go figure.

video review: 'automata i & ii' by between the buried and me

I keep thinking that this review is going to wind up more controversial than it probably will be... eh, still interesting enough to talk about, I guess.

Next up, hopefully a quiet week of Billboard BREAKDOWN and whatever else will show up this summer - enjoy!

album review: 'automata i & ii' by between the buried and me

So I've made it no secret that I don't tend to be a huge fan of death metal, especially once we get to the more technical, punishing territory, but I've always had one big asterisk in that category and that was Between The Buried And Me. As I've said before, I got into the band in university, and while the wild tonal shifts and overall presentation took a while to grow on me, I still stand up for Colors and Alaska to this day.

And yet a bizarre parallel to Opeth, as Between The Buried And Me shelves more of their heavier side for progressive tendencies, I've tended to like them a lot less, as those shifts seem to have come at the cost of smart mix balance, intensity, and with the addition of synthesizer tones I don't think anybody wanted. And I can't tell you how aggressive irritating that is, because it's clear that Between The Buried And Me is trying to get more experimental and incorporating a richer cross-section of sounds and progressions, but more often than not those sounds wind up not complimenting the compositions nearly as well as they should. And I'll say it: I was probably too nice to their 2015 record Coma Ecliptic when I reviewed it formally, because while it was not a bad record, it was absolutely a measurable step from the band at their best and really has not been anything I've wanted to revisit

And I'll be blunt and say I had big concerns about this project too: a double album, the first half released in early March of this year with the second coming out now, and while I've never liked it when bands pull this release strategy for double albums, it did give me some forewarning that Automata might be a bit of a mess, especially with some of the wilder rumors I had heard about the second half. But hey, maybe Coma Ecliptic was transitional and they'd stick the landing here, right?

video review: 'ordinary corrupt human love' by deafheaven

So this review was incredibly frustrating to put together, but overall a welcome reminder to do your fucking research before you put out a loaded statement in a review. Either way, enjoy!

album review: 'ordinary corrupt human love' by deafheaven

I remember where I was when I reviewed New Bermuda - and when I say that I'm referring to my position with respect to black metal. Sure, I had done some of my research to familiarize myself with the trends in the genre, but I still felt very much like I was on the outside looking in, the hipster music critic using a band like Deafheaven for his inroads into the larger genre but getting scared off when it got too real...

And yet that didn't happen, and while I still wish I could find more black metal records to cover here, I'll freely admit my personal preferences within the genre have deepened and matured in the past three years - not the point where I'll outright dismiss the success Deafheaven has found in taking atmospheric black metal to a larger audience, but to me they've never risen past being just a gateway act. In fact, I'll be blunt: outside of maybe the occasional cut from Sunbather, I haven't really revisited Deafheaven in a long time, and I certainly wouldn't put them up against stronger material from the black metal that's made my year end lists the past three years. But on a similar note, I'm not really about to dismiss Deafheaven either - yeah, frontman George Clarke has not endeared himself to me whatsoever in some of his comments off the mic, but at their best Deafheaven can tap into the soaring crescendos and high points that drew me to atmospheric black metal in the first place, and where New Bermuda stumbled was trying to simultaneously double down on the heaviness and brighter rock segments where the clash felt discordant. So when I heard that Ordinary Corrupt Human Love was heading back in the direction of Sunbather to re-embrace their prettier atmospherics, I was actually looking forward to how this could turn out, especially as the band can be pretty intriguing on a lyrical level as well. So alright, what did we get from Ordinary Corrupt Human Love?

video review: 'a laughing death in meatspace' by tropical fuck storm

So unsurprisingly this got flagged to hell and back already... eh, whatever, it's a great record, I'll take the loss for this, the record is certainly worth it.

Next up... hell, whatever comes off of the schedule, we'll see. Stay tuned!