billboard BREAKDOWN - hot 100 - september 15, 2018

I think you all might be expecting me to be more angry about this album bomb than I am - given the review and how much vitriol I spewed, you'd probably think seeing it all show up here would piss me off all the more... and yet if I'm being brutally honest, in viewing the songs outside of the larger, slightly nauseating context of the record, I reckon some of them might hold up better on their own, and given that it's an album I covered at length, I'm definitely going to streamline the coverage here.

video review: 'villains' by emma blackery

So yeah, this was... actually a lot better than I was expecting, go figure. I've got hopes that the review will do well, but we'll see.

Next up, Billboard BREAKDOWN with what looks like an Eminem album bomb so... ugh, just stay tuned!

album review: 'villains' by emma blackery

So I'm not going to lie, I was not expecting this would have the staying power it did to rise up my schedule, because even on a slow week it can get awkward talking about records from fellow YouTubers who more likely than not will see this video. And since there's a very good chance this might wind up in a reaction compilation somewhere - possibly by her - I wanted to ensure I gave this my due diligence, especially as I've watched a fair number of her videos in the past.

So, Emma Blackery - from the U.K., she started on YouTube about a year before I did as a way to promote her music, blew up considerably over the past several years, and while her collection of channels have gone through a number of permutations, the music has been a consistent feature, even if I'll freely admit a certain limited familiarity with her singles ahead of time. In going back to revisit them, she hit something of a stride with a bratty, pop punk sound that got smoothed into a pop lane that feels very close to something Paramore would have released around the turn of the decade. Now I'll freely admit I have issues with Paramore in that era, and I was genuinely curious whether she'd follow the same path they did for her independently released debut album - apparently she was going electro-pop this time around, which could definitely work with the right producers and if she had the hooks. I'll freely admit I was a little skeptical, but hey, Troye Sivan had stuck the landing when I covered him last week, I hoped Emma Blackery would be in the same boat here, so how did Villains turn out?

resonators 2018 - episode #008 - 'hear nothing see nothing say nothing' by discharge (VIDEO)

And yes, I know it's late, but I'm glad it's here - enjoy?

Next up... honestly, not sure what's going to get a full review yet, so stay tuned!

video review: 'bloom' by troye sivan

Forgot to post this earlier, but this is a solid pop record - enjoy!

resonators 2018 - episode #008 - 'hear nothing see nothing say nothing' by discharge

So for this episode of Resonators, we're going to switch things up a bit, because while I've discussed at length the burgeoning hardcore punk scene across different parts of the United States, I haven't really delved into what was going on in punk in other parts of the world. And you'd think that since the U.K. was one of the main drivers of punk coming out of the 70s, they'd have a significant hardcore presence, at least in the underground at the time...

And this is where things get complicated, because in the early 80s in the U.K., punk was in a weird place. Sure, post-punk and new wave were laying the foundation for what would become the second British invasion, and anarcho-punk was curdling in its own artsy, far-left corner, but that didn't mean hardcore punk didn't have its own unique foothold, but it came from a different source: Oi! I've mentioned this style before in its adaptation of folk sing-a-long structures and working class populism, but by the late 70s the genre had gotten co-opted by skinheads and right-leaning white nationalist groups, which tainted the genre in the media discourse for decades to come despite the protests of some of the bands. But there was an offshoot of this, adapting a distinctive cymbal-snare-bass drum pattern and more blunt lyricism, that would later lay the groundwork for additional offshoots like crust punk and street punk to come in later years and even cross the Atlantic. This was d-beat, and while bands like The Buzzcocks had sparked initial interest in the sound, the band for which it was named would break onto the scene after a string of well-received EPs in the early 80s with what one could argue is one of the most influential releases of the time. And even if the band wouldn't stay in pure hardcore for long, it's important we talk about it all the same: the debut album from Discharge, Hear Nothing See Nothing Say Nothing, and this is Resonators!

album review: 'bloom' by troye sivan

I'm not going to lie, I'm a little surprised that we've wound up in this place - or more specifically, how Troye Sivan wound up in this place. I'm sure diehard fans remember this, but he started off in the burgeoning LGBTQ vlogger community on YouTube before transitioning into music, and there was definitely a time where I was convinced that the major label system would eat him alive like it has so many other musicians who originated on this platform we reluctantly call home.

And that didn't quite happen, mostly because Blue Neighbourhood went down among audiences and critics with a respectable amount of success, helped along by working with good producers and cowriters and showing Sivan evolving as a songwriter and performer - he never quite wowed me in that brand of pop, but there was a lot of promise. And yet even then, taking three years between albums did raise some questions for me, especially when his lead-off single was released months ago and didn't seem to pick up a ton of traction, even if it did look like he was going to be getting looser and darker. And some of his new production and writing team did raise questions for me: yes, Ariel Rechtshaid is always a promising addition, but seeing Allie X as a cowriter did raise suspicions, especially as I did not really like her project from last year. That said, he kept the majority of his production team from the last album and somehow even netted a featuring credit from Ariana Grande, and he was smart enough to keep this a brisk ten songs near thirty-five minutes, so I had some hopes this would turn out as strong as Years & Years' sophomore project, which played in the same lane and also dropped earlier this year as a modest improvement. So what did we get from Bloom?

video review: 'kamikaze' by eminem

I humbly await your backlash.

Next up, Troye Sivan - stay tuned!

album review: 'kamikaze' by eminem

I was afraid of this happening. I honestly didn't expect it to happen - while there has always been blunt self-aware commentary in Eminem's work even with regards to his previous records, the fallout coming from Revival was particularly concerning, and I honestly just hoped that Em would leave it at the remix of 'Chloroseptic' and just move on, or maybe hunker down in the studio to cut together a sharper project, or heaven forbid get out of Detroit for a bit so he could take in the cutting edge of modern hip-hop and start really pushing the gauntlet again. About the last thing I would have wanted him to do was build an entire project as a response, because it's not the first time he's done this. I've always read Encore as a layered artistic immolation, intentional self-sabotage of his curdled legacy, and Recovery was explicitly framed as a response to the underappreciated Relapse, and somehow wound up even worse, to say nothing of sounding dated as all hell.

But Kamikaze looked to be simultaneously something different but familiar: a surprise album framed as a response and return to form, burning down everything in his path in acrid contempt for a mainstream hip-hop sound that threw him and Revival aside, with features from Joyner Lucas and Royce but also hooks from Jessie Reyez, about the last person I cared to see hop on a hook for anyone given her barely adequate and depressingly conventional pop vocal timbre. It was an album designed to court controversy with an impressive number of names getting dropped and insults getting thrown that all had the feeling of Eminem taking the critical rejection of Revival way too seriously and worse still not learning the lessons of why that record didn't work... but again, I'm an Eminem fan and defender and I have been for years, so I wanted to give this project its due time to sink in, to see if it could rise above its questionable origins... so how is it?

billboard BREAKDOWN - hot 100 - september 8, 2018 (VIDEO)

And here we are, Billboard BREAKDOWN back on regular schedule - enjoy!

billboard BREAKDOWN - hot 100 - september 8, 2018

...you couldn't have saved the cooldown week for when I was on vacation? Seriously? Not that i'm complaining much - there wasn't much happening this chart week and we'll have the aftermath of whatever the hell happens with Eminem next week, so I appreciate the breather.

video review: 'joy as an act of resistance' by idles

Man alive, I'm so damn happy this kicked ass - so much replay value, so damn catchy, genuinely potent! 

But next... okay, Billboard BREAKDOWN first, and then Eminem. Stay tuned!

album review: 'joy as an act of resistance' by idles

When I reviewed Idles last year, I was a very different person - specifically, one who hadn't exactly developed an appreciation for hardcore punk. I had brushed against the genre over the years, but I wouldn't qualify myself as having in-depth knowledge or even a liking for the genre... and thus it was all the more startling how well Idles' debut Brutalism clicked for me, a howling, guttural grind that was also fiercely intelligent and the sort of political polemic that could hit like a ton of bricks. Both it and the song from it '1049 Gotho' wound up on my year-end lists, and I'd be lying if I said it didn't kickstart some deeper curiosity that contributed to putting hardcore punk as an option on Resonators.

Of course, now it's eight months later, and with a much deeper knowledge base around hardcore punk, I was anticipating this record all the more but my expectations were even higher. The fast turnaround time was a bit concerning, and it wasn't like Idles didn't have problems on their debut, and while embracing a spirit of riotous optimism in the face of dark times is an attitude I can get behind, I wasn't sure Idles was the act from which I wanted to hear that message - my favourite cuts from Brutalism had been some of the darkest and angriest, so this was looking to be quite the tonal shift. But hey, it was either this or Eminem, and I wanted to start on a high note, so what did we get out of Joy As An Act Of Resistance?

the top ten best hit songs of 1993 (VIDEO)

And we've now got the list that's taken me months to make. Really pleased with this, enjoy!

album reviews: 'songs for the saints' by kenny chesney / 'all of it' by cole swindell / 'steak night at the prairie rose' by mike & the moonpies (VACATION)

And finally, we're done with the vacation reviews - next up should be Idles, but before that...

album reviews: 'anno: four seasons' by anna meredith & antonio vivaldi ft. scottish ensemble / 'your queen is a reptile' by sons of kemet / 'in praise of darkness' by shades (VACATION)

This was a fun one to put together too - definitely happy with this. Enjoy!

album reviews: 'sweetener' by ariana grande / 'lost & found' by jorja smith / 'mimi' by bad rabbits (VACATION)

Hmm, this is probably one of the better vacation reviews - definitely check it out!

billboard BREAKDOWN - hot 100 - september 1, 2018 (VIDEO)

Man, this was a pain in the ass to get online, but I think it turned out alright in the end - enjoy!

album reviews: 'be the cowboy' by mitski / 'musas 2' by natalia lafourcade / 'to the sunset' by amanda shires (VACATION!)

Okay, a lot of catchup posts ahead, so stay tuned!

the top ten best hit songs of 1993

So I'll freely admit of the Patreon-requested years for which I cover the year-end Hot 100, we haven't really encountered a 'bad' year for the charts, the sort of years that even with the benefit of hindsight and nostalgia cause us to wince in the face of the memories. The closest that I've covered in this territory throughout the five years I've been on YouTube have been 2016 and maybe either 2010 or 2014, and even then, both of the latter have strong enough redeeming moments to knock them into quality.

1993 is not one of those years - perhaps not the worst the Hot 100 has had to offer, but definitely the sort of transitional early 90s year where the best stuff wasn't charting, most of the good stuff was starting to get overexposed, music legends were falling apart in slow motion, and the rest was a wasteland of formless mush. Thank god R&B and new jack swing were mostly holding up and that g-funk was cutting a swathe across hip-hop, because rock had lapsed into parody, the pop-rap of the early 90s was trying and failing to keep up, and punk and country were nowhere to be seen, despite the advent of riot grrl and the neotraditional country revival in full swing. Even grunge, widely hailed as the breakthrough sound by music critics of the early 90s, had little to no traction in 1993 - and before hip-hop can raise a triumphant flag here, there was no way in hell that the best of that genre was getting to pop radio in the face of an avalanche of easy listening pablum left over from the 80s and artists who should really know better! No In Utero, no 36 Chambers or Ain't No Other or Buhloone Mindstate, but hey, you got Kenny G!

Now what that means is that the best of 1993... look, it's all over the place, especially as some of the chart oddities have aged better than what was big at the time, and while there are a few classic cuts from this era, in comparison to stronger years this particular top ten is substantially shakier - and as always, the songs have to have debuted on the year-end Hot 100 in 1993... which actually didn't result in any cuts from this list, and thank god for that, as it's pretty thin. But hey, let's start off with...