billboard BREAKDOWN - hot 100 - november 10, 2018 (VIDEO)

So yeah, this week blew... but at least the Democrats grabbed the House. But I'm Canadian, so we'll handle the aftershocks regardless.

Next up, some Poppy - stay tuned!

billboard BREAKDOWN - hot 100 - november 10, 2018

I'm just going to say this right now, this is the second time I'm putting together an episode of Billboard BREAKDOWN on an election evening and I'm just not a fan of it - somehow the songs just don't wind up feeling very good... even if, instead of dealing with a Meek Mill album bomb we've just got a pileup of assorted, forgettable cuts. Hell, in most cases I'll treat that like a net positive.

trailing edge - episode 010 - october 2018 (VIDEO)

So I imagine this could actually do well, given that there are a few reviews folks have been asking plenty for here, and I did get long-winded at points for the better. Enjoy!

video review: 'you won't get what you want' by daughters

So this was nuts - and pretty damn incredible, not gonna lie. Definitely make time to hear this, it's awesome.

Next up... hmm, Trailing Edge and then Billboard BREAKDOWN, so stay tuned!

album review: 'you won't get what you want' by daughters

Not going to mince words: these are the reviews that always give me pause when I put them together. Not that I didn't know what I was getting into - I've gone through Daughters' entire back catalog, it did not take long - but it's always a little daunting when you see so many critics praise an act so highly, especially based on qualifiers that can be very subjective to say the least.

Granted, since we're talking about Daughters we might as well open with the conversation that'll inevitably happen whenever somebody talks about this group, namely what in the Nine Hells they even are. Going into their first album you could conceivably call them grindcore with the extremely short songs, screamed vocals, and guitars that sounded like buzzsaws going through your skull, but their next two releases didn't stick in that lane, venturing into noise rock and industrial music with the sort of intentionally grotesque wildness that if you were familiar with their genre could seem a bit more accessible and experimental, showing the band diversify and expand their sound - and if you weren't familiar you were in the corner in the fetal position. This is a band that operates on violent noise and alienation and you need to be the right mindset for it - but if you can clue into that mindset, I would never call myself a huge fan but I thought their artistic direction had potential and I would have been curious for a reunion before now, eight years after they broke up after their self-titled album that many considered their final record. But they're back, and the critics who love this style of abrasion really love this album, so I was gearing up for one hell of a listen, even if the album's title seemed to promise otherwise. But fuck it, what did we get from You Won't Get What You Want?

video review: 'nearer my god' by foxing

Yeah, I'm a little stunned I wound up liking this as much as I do... but yeah, it gets there SO well, and though late I'm happy I covered it - enjoy!

album review: 'nearer my god' by foxing

So over the past few months I think some folks have gotten the impression that I've been more harsh or negative than usual - and while it's true that I've found less albums that I'd say are easy fits for the best of 2018, let's flip the script a little bit and talk about a trend in indie rock that I've actually come to like a fair bit. See, as a part of the success of the third wave of emo in the 2010s, over the past few years we've seen an expanded wave of rock artists dig deeper into raw, emotive territory but harness a little bit more maturity and poise, splitting the difference between over-educated detachment and the painful realization so much of that will not save them anymore - don't look at me like that, we all get to that age!

And make no mistake, this is a thematic trend that might have been primed by the third wave of emo, but it's bled enough into indie rock and alternative rock that it's hard to not think the pretentious coffeehouse hipsters of the early 2010s are having midlife crises, from the wine-soaked breakdowns of the older guard like Josh Tillman and Matt Berninger to the over-educated angst of Will Toledo to the palpable angst of Deaf Havana and The Wonder Years. And somewhere in the middle, inhabiting an intricate blend of post-hardcore rage, post-rock atmospherics, and indie rock meticulousness, we have Foxing. And honestly, I should have tackled this band months ago, because from the reckless, ramshackle howling of their debut The Albatross in 2013 to the more intricate and reserved fragmentation of Dealer two years later, Foxing were definitely inhabiting this lane, and with their third album Nearer My God primed to blow everything up on steroids with their longest and most explosive project to date, I definitely wanted to take this in, so what did we get?

video review: 'aviary' by julia holter

Yeah, this won't be controversial at all... eh, we'll see.

Anyway, I'm finally going after this Mick Jenkins project next, and then probably Daughters, so stay tuned!

album review: 'aviary' by julia holter

It feels like it's been longer since the last Julia Holter album than just three years.

And I know that sounds a bit strange, given that I don't really talk about her much - I discovered her discography late in 2015 before giving her album Have You In My Wilderness a slot on my year-end list, but I'll freely admit that outside of a few choice cuts it's not an album I revisit often... mostly because it's an odd album for me to take in. It's beautifully effervescent, but also layered and complicated and impressively nuanced, which makes for the sort of listening experience that's both light and heavy simultaneously, which actually makes her 2013 album Loud City Song an easier listen just for emotional continuity and a slightly more approachable style. I've typically said that Julia Holter's music is Lana Del Rey done right, but upon more thought I'm not sure that's the most apt comparison - more like Lana Del Rey with more intricacy and density, and I'll admit that's not for everyone.

And if I wanted proof of that, I just had to look at Julia Holter's newest project, a daunting fifteen-song, hour-and-a-half double album that she's described as her most layered and expansive to date, reported inspired by the chaotic screaming reality of the past few years, especially 2018. Which seemed like an interesting choice for Julia Holter - I've never quite considered her music contemporary, and by that I mean connected to current events and ideas, she seemed comfortable with abstraction and loftier themes. But hey, at the very least I had to respect the ambition, so what did we get from Aviary?

resonators 2018 - episode #010 - 'zen arcade' by hüsker dü (VIDEO)

Well, this'll undoubtedly be controversial... eh, we'll see.

Next up, this massive project from Julia Holter - stay tuned!

resonators 2018 - episode #010 - 'zen arcade' by hüsker dü

There are folks who are saying that I should have covered this album months ago, that it is undoubtedly a seminal classic in pushing the genre forward and laying the groundwork for what would come. And that I'm only covering it now might be viewed in some camps as being a half-step behind, especially given that I've expressed a lack of familiarity with its subgenre before.

And here's my counterpoint: I see the argument for talking about Hüsker Dü earlier, but I'd argue it was more important for me to see the groundwork of hardcore punk get laid rather than jump straight to the concept album that's widely considered a classic of post-hardcore in helping define the genre, which is the biggest reason why I've put off covering this project for so long. Now some would argue it makes more sense to start with Hüsker Dü's debut album Everything Falls Apart - it was still produced by Spot even though this Minnesota group hadn't signed to SST - but at that point you could make the argument that Hüsker Dü hadn't come into their own just yet. They had never fully considered themselves a hardcore group, but the band was looking to get a lot more ambitious in their song construction and choice of instrumentation - albeit with a recording method that seemed to owe a lot more to hardcore punk, recording nearly every track as a first take within a forty hour window, and in a second forty hour window mixing and mastering it all! I mean, I've got to admire the dogged determination to hammer this out, but I had to wonder how well that would hold up in comparison to their labelmates and quasi-rivals Minutemen who put out the legit classic Double Nickels On The Dime that same year. But enough dancing around this one, let's get to it: we're talking about the critically acclaimed, concept-driven double album from Hüsker Dü, Zen Arcade, and this is Resonators!

billboard BREAKDOWN - hot 100 - november 3, 2018 (VIDEO)

Well, damn, that took way too long...

And judging what's coming up on Resonators, that might take way too long as well... as well as whatever's next on the schedule. Okay, might get tricky balancing what comes next, so stay tuned!

billboard BREAKDOWN - hot 100 - november 3, 2018

So this wasn't what I was expecting. I mean, sure, I knew there'd be some traction coming from Juice WRLD and Future's collaboration, but beyond that I'll freely admit that I wasn't expecting the same level of success from Khalid and Lil Yachty, or that none of them would result in the biggest new arrival this week! Again, it's impossible to see how much of this will last, but it does make for a slightly busier week than I was expecting.

video review: 'honey' by robyn

Well, this was kind of underwhelming... still good, but it should be better.

Next up, Billboard BREAKDOWN, and it looks to be short (hopefully), so stay tuned!

album review: 'honey' by robyn

Even before I knew I was a fan of pop music - hell, before I even had firm context surrounding what pop music was - I was a fan of Robyn.

And yes, I know that's a bizarre thing for me to say, especially coming from someone not from Europe and who only got passing snippets of what Robyn creating in the late 90s and 2000s... but we did get a few pieces, and the majority of them have held up amazingly well. I'll freely admit that when I was a child and heard 'Show Me Love' I didn't have the slightest clue who Robyn was - and let's be honest, most folks who were adults in North America didn't know either, her distribution and name-recognition stateside has always been shaky - but I knew the song connected on a fundamental level. Fast forward over a decade later and I'm hearing 'Dancing On My Own' in HBO's Girls and while the vocal timbre had subtly changed, the ridiculously intricate and tight pop music remained the same. And that prompted me to go back through whatever albums in her back catalog I could find and it's honestly a little astonishing how consistently great Robyn has been. There have been missteps - I might be one of the few people who find the hip-hop elements on the self-titled album to have aged pretty badly and hurt the album as a whole - but for the most part I've been a consistent fan of her terrific sensibility around melodic grooves and her remarkably keen sense of emotional dynamics.

And thus the past eight years where we haven't had full Robyn albums... well, it's been a long wait. Yes, I heard those EPs with Royksopp and La Bagatelle Magique, but they felt compromised, not nearly the clear organic creative vision I knew Robyn could deliver, and thus I was thrilled to get a chance to hear her newest project, Honey - was it everything we could have hoped for and more?

video review: 'the anteroom' by how to dress well

Yeah, have to be honest, I don't exactly expect this to go over that well... but hey, I got Resonators and Robyn on the horizon, so stay tuned for something better soon!

album review: 'the anteroom' by how to dress well

So I wasn't expecting this. 

And if you've been following Tom Krell's career arc as How To Dress Well the past few years, I think that's a reasonable statement to make, as he's gradually taken steps away from the misty, melancholic alternative R&B sound to something more pop-friendly, culminating in 2016 with Care, an album that did not totally stick the landing but did provide me with 'Salt Song', one of the most infectious and gripping indie pop songs of the decade - if there was something that should have gotten a single push, it was this! But with that being said, pop was not a natural fit for Tom Krell, so if he was going to stay in that lane, I expected some careful tuning and refinement for the next project - hell, it'd probably be more lucrative in the long term, right?

What I didn't expect was this, the sort of genre pivot that flew not only in the opposite direction but also past his alternative R&B roots to something quite different, what he's described as 'an ambient dance record where the energy never goes above three out of ten'... which could work, I guess? It's hard to tell, it might fit closer into Tom Krell's comfort zone but it also seems like the sort of experiment that could misfire if he wasn't careful. So alright, fine, what did we get out of The Anteroom?

video review: 'masters of the sun vol. 1' by the black eyed peas

Hey, don't look at me like that, I didn't expect to think this'd be tolerable or passable! But hey, this was decent, I respect that.

Next up, probably Resonators and then... hmm, not sure, lot on the docket ahead. Stay tuned!

album review: 'masters of the sun vol. 1' by the black eyed peas

I'll say it right now, this feels weird.

And to explain why, we need to go back to the early 2000s, back to an era where mainstream-accessible alternative hip-hop having received a brief second wind in the late 90s seemed to be fading out again and where a hip-hop trio called the Black Eyed Peas were getting a bit of traction. They weren't a great group - the lyrics were undercooked and often felt like they were reaching for insight they could never quite achieve, but nobody could deny the hooks stuck with you, and by the time they added a girl group survivor named Fergie to their team, they started having chart success... and it was about this time their content took a sharp nose dive in quality. And while it would take the listening public until the end of the decade to pick up on it - the hooks were too damn infectious for them to give up too easily on them, especially as they pitched more organic hip-hop out for electro-pop for some of their biggest ever hits - by 2011 we as a culture were done with the Black Eyed Peas, and the group went on indefinite hiatus. Many folks thought the group was done, especially as group mastermind will.i.am released a solo project of which I thoroughly dissected before YouTube...

But now they're back. Fergie was gone, as well as any other producers - it was just will.i.am behind the boards for this - and they had promised a radical shift in sound, leaving behind the club-era electro-pop for something more downbeat, reportedly drawing on soul and jazz, something which apparently pissed off their label Interscope to no end. And more than that, The Black Eyed Peas wanted to get political again... and look, if I wasn't skeptical before, I sure as hell was now. I've long been of the opinion that bad or misguided political art can be damaging if framed in the wrong context, and I've never been confident in the lyrical skills or insight of The Black Eyed Peas... but without Fergie and those big pop hooks, their reach might wind up limited, and this just might wind up being a blip on the radar, a long-overdue comeback for the fans but barely a blip on the radar for everyone else. So okay, what did we get from Masters Of The Sun Vol. 1?

video review: 'songs of the plains' by colter wall

Yeah, this review is up a bit earlier than usual - I've got a busy night ahead, figured I'd knock this out quickly.

Next up, How To Dress Well/Resonators, so stay tuned!