video review: 'this was supposed to be fun' by epic beard men (sage francis & b. dolan)

Okay, and this ruled too - enjoy!

Next up... man, I really want to finish off that Trailing Edge episode for the quarter, but Billie Eilish is right around the corner afterwards, I promise - stay tuned!

album review: 'this was supposed to be fun' by epic beard men (sage francis & b. dolan)

Not going to mince words: this was one of my most hotly anticipated hip-hop projects of 2019.

And if you're familiar with Epic Beard Men from their killer EP Season 1 last year - or hell, from any of the solo projects of Rhode Island MCs Sage Francis or B. Dolan - you'd completely understand why. Hell, I'm a little stunned why there doesn't seem to be more hype within the hip-hop underground: stellar MCs with expressive delivery that helped lay the groundwork of emo rap, delivering a collaborative project off a really strong EP that's sure to be rife with progressive and activist politics in an era where that is more the rage than ever, if there's a moment for this duo to be dropping an album, it's now! And while the EP had primed the pump, I knew that the full album was probably set to solve my minor gripes with that project, giving more room to modulate tone and incorporate a broader subset of acts and production to lend the project diversity. And considering they picked up Slug from Atmosphere, Wu-Tang affiliate Blue Raspberry, and Yugen Blakrok, whose great sophomore project dropped earlier this year, it looked like all the pieces were in place for this to work - so no more wasting time, what did we get from This Was Supposed To Be Fun?

album review: 'panorama' by la dispute (ft. the rock critic) (VIDEO)

So yeah, this kicked all amounts of ass - massive thanks to Crash Thompson aka The Rock Critic for joining in to celebrate this album!

And yet the tide of amazing music is not over - stay tuned!

resonators 2019 - episode #015 - 'mos def & talib kweli are black star' by black star (VIDEO)

Man, this album was a lot of fun, really happy I gave it a lot of breathing space. Good stuff.

So there might be a slight delay on me getting to La Dispute - just some coordination with how I'm putting that review together - but I did finish filming everything for the Trailing Edge and I did get a few albums early, so stay tuned!

resonators 2019 - episode #015 - 'mos def & talib kweli are black star' by black star

So I'll admit this project was always on the radar when it came to this season, and I'll admit it's probably better we get it out the way now before we delve deeper. Because there's always one: the indie project that doesn't just bring in a ton of critical acclaim, but becomes a surprise hit and even nets a few fleeting singles on the Hot 100 on the strength and popularity of the artists alone.

And what caught me by surprise is that this wasn't two established legends teaming up either, at least not at the time. Yes, full disclosure here, I was familiar with the work of both Mos Def - now known as Yasiin Bey - and Talib Kweli before this, and they both had had some breakout verses before 1998, but I could have sworn they had more established bodies of work before this. But no, while Mos Def had verses with Da Bush Babies and De La Soul and others within the Native Tongues camp, and Talib Kweli had multiple appearances on Doom, the debut project of Cincinnati hip-hop group Mood in 1997 - which hopefully at some point we'll cover here - neither artist had a full-length solo debut ready while they were both signed to Rawkus. In fact, what might be more notable is Soundbombing, an early compilation release from Rawkus that brought the entire roster together and may have given Mos Def and Talib Kweli the connection they needed - that's another project we should probably cover here, come to think of it... Anyway, given that they both postponed individual projects to work together, with Talib bringing his producer friend Hi-Tek and Mos Def looping in Native Tongue affiliates like 88-Keys and Da Beatminerz, that chemistry was too good to squander, so much so that to this day while the duo has teased a return, this is the only project they would complete together: so let's get into the unlikely smash that might not have been the first introduction but absolutely put them on the map. That's right, we're talking about Mos Def & Talib Kweli Are Black Star, and this is Resonators!

billboard BREAKDOWN - hot 100 - march 30, 2019 (VIDEO)

So yeah, slow week - hate the copyright claims, but I'm muscling through it, we'll see where this winds up.

Next up... you know, I'd like to get an episode of Resonators polished up first, so stay tuned!

billboard BREAKDOWN - hot 100 - march 30, 2019

Okay, when I predicted a slow week, I didn't expect it to be this slow - and kind of strange, the more you think about the few new arrivals we got. I'd say it's closer to a holding pattern than anything, but considering how much of 2019 has felt like that when it's come to releases, especially on the Hot 100, you have to wonder if or when a major shakeup will truly hit.

video review: 'american football (2019)' by american football

So yeah, this won't get controversial, not one bit...

So not sure what might wind up next on the schedule after Billboard BREAKDOWN - could well be Resonators, given how my schedule is mutating - but stay tuned all the same!

album review: 'american football (2019)' by american football

I think there's a lot of people who forget that emo was a thing in the 90s.

Now granted, this was material I had to rediscover years later - I certainly wasn't that cool when I was eight or nine - but if you were in the right circles there was a vibrant reinvention going on after the genre kind of went quiet at the end of the 80s, and by the end of the 90s, the genre was on the cusp of a mainstream breakthrough... from a certain point of view. And that was the funny thing: for every band like Jimmy Eat World and The Get Up Kids and Dashboard Confessional actually moving units, there was still a thriving underground that was pushing the sound and scope of emo into more artistic directions, usually with inroads into the indie rock and college rock scenes. Many of these acts would lay the foundation for third-wave emo today... and in the midst of all of this in 1999, a band called American Football released a self-titled album. Now keep in mind that you could track the evolution and growth of emo just through certain members of the band - frontman Mike Kinsella was a founding member of Cap'n'Jazz who also put out one seminal full-length album before falling apart - but American Football was different if only because the ideas felt less organized, pulling from post-rock and free jazz and a windswept tone that lacked the immediacy of most midwestern emo, but remained as compelling. 

And as such, the alchemy was not built to last - after one album that was destined to become a cult classic, the band broke up and went on to various scattered directions both in and out of music... so fast forward to 2014, the self-titled album is reissued, and fans lose their shit, especially when there are hints that the band is reuniting. And to pretty much everyone's shock, not only did it happen they actually released an album in 2016, a second self-titled project right in the middle of the third-wave they inspired. And... well, it was good - not quite great but it never needed to be, a more rounded and accessible reunion that owes a little too much to Kinsella's long-running solo project Owen that had enough to hit the nostalgia centers of all the old fans of the first American Football album who settled down, got jobs, had kids, and put their yearning in the closet.

So I'd argue I was more surprised that American Football were putting out an album this year - it makes sense that the band would want to see more from their critical resurgence and a cult fanbase, but you can only milk nostalgia for so long. So with that in mind, what did we get from the third self-titled album from American Football?

video review: 'chekhov's gun' by last sons

Yeah, I've been talking about this one all damn week, really happy it turned out as well as it did!

Next up... hmm, I'm thinking something a little brighter (so to speak) than this... stay tuned!

album review: 'chekhov's gun' by last sons

Let's talk about cosigns.

Because especially in recent years and with a shortened hype cycle, I'm always a little bit wary who an artist will support, either explicitly or implicitly... and I'll freely admit I do judge some acts by the people who sponsor them or they choose to sponsor - and in today's day and age, it seems like the list of disappointments keeps piling up. Yeah, in an attention economy, one's word tends to matter more than some think.

But in the case of an artist who moves with integrity, I'm inclined to give them a bit more space and benefit of the doubt, so let's talk again about Uncommon Nasa, a New York underground hip-hop artist who has made my year-end lists multiple times and has delivered some phenomenal records both as a writer and producer. So when he approached me about a project he entirely produced for a new group called Last Sons, featuring UK rapper Duke01 and DJ Furious P, I was intrigued, especially considering how his production style has evolved and thus far he has not put his name or word behind a bad artist - and when you count how many guests he had on 2017's Written At Night, that says a lot. And I reference that project because that's where I got my first taste of these guys on the song 'Small Change', which was a great song and I had to hope they'd deliver here, so what did we get on Chekhov's Gun?

video review: 'it's real' by ex hex

So I've had this for a few days... and I wish it was better. Still good, but after such a long wait, I really wanted this to be great.

Ah well - next up should be something I've been waiting to review all week, so stay tuned!

album review: 'it's real' by ex hex

...you know, it's going to be a cheap tagline repeated by many fans and critics following this group upon hearing that the album is dropping, but it's true: somehow it's real, we're getting another Ex Hex album!

Now for those of you out of the loop, Ex Hex is a scuzzy, garage-leaning, almost punk indie rock act fronted by Mary Timony, who you might know from Helium or especially in recent years from her involvement in Wild Flag, an all-too-brief project fronted by Carrie Brownstein of Sleater-Kinney that put out one project and then folded when Sleater-Kinney reformed. And honestly, I thought a similar fate was going to crop up for Ex Hex - Mary Timony pulled up Betsy Wright on bass and Laura Harris on drums and cut together a straightforward but critically adored album called Rips in 2014. Now I did review it five years ago, and while I was a bit cooler on it than most - Timony never quite wowed me as a frontwoman and there were some rough patches in the production - the hooks were phenomenal and the writing was great, which led the project to maintain some solid replay value as just a great three-piece rock act. But it's been five years - you'd think the group would strike when the iron was hot, especially with the critical acclaim, but we finally got a follow-up - so what did Ex Hex deliver on It's Real?

video review: 'traveling mercies' by emily scott robinson

Okay, so this was absolutely fantastic and you all need to hear it yesterday. Kind of out of nowhere surprise for me, but that's the wonderful thing about it!

Anyway, next up will probably be hip-hop (presuming it all comes through properly), so stay tuned!

album review: 'traveling mercies' by emily scott robinson

So I'll admit this came out of nowhere for me.

And I think that's somewhat important to call out, because everyone loves to say they're ahead of the curve and they found an act from the indie scene that nobody's ever heard of, and while you might get the occasional quote from more traditional outlets, you can quickly tell by traction in other lanes how much people really know about you. But I'll freely admit that wasn't really aware of North Carolina's Emily Scott Robinson from any outlet before recently: I saw the rave review for her newest project from Saving Country Music, I got curious knowing exactly rare said reviews are, and I figured I'd check out her debut to get some perspective...

And I was left blown away. Yes, 2016's Magnolia Queen is very much a spare and acoustic affair, a little rough around the edges both in playing and her vocal delivery - although she does have a great voice - what astonished me was the songwriting. In terms of structured poetry, detail, and nuance to craft vivid and often heartwrenching stories, the closest immediate comparison I made was Lori McKenna - and that's not a comparison I make lightly. And it's not a straightforward imitation either - Robinson's writing is rougher and a lot darker, not flinching away from the small town failures and vices that can consume both her protagonists and their hapless partners - age hasn't sanded back or refined her edges, and considering the dark, challenging moments have always what I've liked the most from McKenna, this spoke volumes. In other words, when I heard that the album this year was more refined and polished - handily making its Kickstarter goal, I should add - I had the feeling we could be in for one of the best country projects of 2019, so what did we get from Traveling Mercies?

billboard BREAKDOWN - hot 100 - march 23, 2019 (VIDEO)

So yeah, this took a bit longer this evening than I was anticipating (I had RL work stuff along with a spur-of-the-moment choice to do my taxes), but it's here regardless. Kind of underwhelming, but what can you do.

Next up... well, it might take a day or two, depending on when the data I need comes in, but I think we're going to stay in hip-hop - stay tuned!

billboard BREAKDOWN - hot 100 - march 23, 2019

So this week surprised me - a lot. I was gearing up for a Juice WRLD album bomb that would make my life miserable, and to my amazement that didn't happen. In fact, we got a pretty average week on Billboard BREAKDOWN, where Juice WRLD did make an impact but nowhere close to what I was predicting, and that leads me to questions about his label and management I didn't expect I'd have. Hell, I knew the kid had a short shelf-life, but I didn't expect Interscope mismanagement to be the biggest contributing factor, I thought the album just being crap would have done enough!

video review: 'a long red hot los angeles summer night' by blu & oh no

Another review for which I'm a bit late to the punch, but I still think it turned out okay.

Next up, we might just stay with indie hip-hop or do a subtle switch-up - stay tuned all the same!

album review: 'a long red hot los angeles summer night' by blu & oh no

You ever have those rappers where for as much you like them they frustrate the hell out of you, an artist you know is fully capable of delivering brilliance but can meander down weird paths that are far less potent than they should be.

Yeah, unsurprising to anyone Blu is in that camp for me - and to some extent, given his comprehensive discography and array of collaborations, I'd argue at this point the biggest issue is quality control. Because when Blu is focused and chooses to refine a project, we get near-classics like Below The Heavens with stellar production and really potent rapping. On the flip side, for as great of a rapper as Blu is with a taste for weirder production, the fact that he doesn't have more projects I'd consider classics is alarming, especially when said production feels compromised or messy and from people you'd expect better. As much as I still like 2014's Good To Be Home and some of his scattered EPs, I can't deny a few of the mixing and mastering questions, and I stand behind the criticisms I had of 2015's Bad Neighbor with M.E.D. and Madlib - I'm still a little in awe that Madlib delivered such a slapdash project, he's a much better producer than that project indicates. Granted, there's been rumors that Blu's relationship with Madlib has been contentious for years so who the hell knows what might have gone on behind the scenes - but when I heard that Blu was teaming up with producer Oh No and had won back some critical acclaim with another 'back-to-basics' project, I was reassured. Hell, people were saying that Good To Be Home was a trial run in comparison with this, so let's not waste time: what did we get from A Long Red Hot Los Angeles Summer Night?

video review: 'GREY area' by little simz

Yeah, this review probably should have been out last week if not earlier - real struggle with how I felt on it, to be honest.

But while I'm on the subject of hip-hop...