May 2017 Album Round Up!

Just like that, Summer’s upon us again! Pretty crazy to think that exactly a year ago today, I was writing about Drake and DJ Khaled’s new single “For Free”. Feels like a fucking decade ago.

If I recall, “For Free” ended up being one of summer sixteen’s core club bangers, as I totally WENT OUT ON A LIMB to predict. What a courageous music writer I am.

And a year later here I am, still pumping out these monthly round ups for an audience that’s expanding at a not-so-exponential rate. But the rapid growth that IS surprising me is how much I love doing this. It’s amazing to me that I can spend so much time working on something that generates zero income and have more and more fun doing it as the months go by. I guess that’s why they call it a passion. And I guess that’s why my parents always told me to “get a real job”.

May was an interesting month. It was really light on the Metal, and a good chunk of this year’s worst music (see below) was released as well. But as always, I found a lot to latch onto, and I hope you’ll enjoy some of these albums as much as I did!

Ether – B.o.B.

Still standing by his early work, I’m always hoping that our favorite Pop-Rap Flat-Earther is going to deliver something great. He’s certainly got it in him, as showcased once again on standouts from this album like the drugged-out banger “Xantastic” or the politically-charged “Peace Piece”, the former a collaboration with Young Thug, and the latter with Big K.R.I.T. (did I mention B.o.B. was versatile as hell?). Unfortunately though, Ether falls apart in the second half with a series of bland tracks that range from half-assed club attempts (“4 Lit”, “Tweakin’”) to excessive melodrama (“Big Kids”). Here is a full review. NOT RECOMMENDED

After Laughter – Paramore

Wow! These rockers – led by the feisty Hayley Willliams – have given me, without a doubt, the most pleasant surprise of 2017! On After Laughter, the band completely abandon their Pop-Punk/Pop-Rock fusion for a throwback to ‘80s pop. Like, seriously, the beginning of “Rose-Colored Boy” sounds straight out of Beverly Hills Cop or something. The beautiful twist, though, is how the super pessimistic lyrics sit in stark contrast with these peppy instrumentals. There is so much pain and suffering behind this album…that’s what makes it so compelling. I love the message of a song like “Idle Worship”, where Hayley Williams shies away from being put up on a pedestal just because she’s a famous musician. And the stripped-down ballad “26”? That shit makes me cry. If there’s ONE ALBUM you check out from this month, it should be this one! HIGHLY RECOMMENDED

All the Beauty in This Whole Life – Brother Ali

This legendary indie rapper returned from five years of radio silence with what is easily one of the best Hip-Hop albums of the entire year. I can’t remember the last time a rapper made me feel such strong emotions. Lead single “Own Light (What Hearts Are For)” is the ultimate uplifting anthem, while autobiographical cuts like “Pray for Me” and “Out of Here” – the former dealing with Ali’s social struggles as a child born with albinism, the latter with the suicides of his father and grandfather – are heartbreaking. Meanwhile, racially-charged moments like “Dear Black Son” and “Before They Called You White” really make you think. He does it all while still delivering intricate rhymes, and doing so over a set of wonderful instrumentals courtesy of Ant from Atmosphere. Here is a full review. HIGHLY RECOMMENDED

Tremendum – Hate

Despite being dogged by comparisons to their Polish counterparts Behemoth for their entire career, this Blackened Death Metal outfit has always walked a delicate line between the two genres that make up their sound. That is, until they decided to throw us for a loop with THIS ALBUM and go completely Black Metal! I’m not sure what was more of a surprise to me…that they made this ballsy shift in their sound this late into their career, or that it went over so well! I love Hate as a (mostly) Black Metal band. There’s still the Death Metal production, there’s still the blast beats that have their origins in Florida instead of Norway or Scandinavia, but the music is a lot more atmospheric and a lot less riff-driven. Tunes like “Sea of Rubble” really have that Bathory MARCH to them! Here is a full review. HIGHLY RECOMMENDED

Everybody – Logic

Despite being a fan of this Maryland rapper’s debut album Under Pressure, I will continue to point out how overrated he is. Even though I love his positive energy, his zeal for the genre, and his dedication to his craft, people big him up WAY too much. When you listen closely, his rhymes are pretty basic – he just speeds them up to make them sound complex. The opening scheme of this album is religion/prison/cracker/blacker. I don’t know why people think this guy is so good. Not to mention, his flows are borrowed from all his contemporaries. And this LP specifically is by far Logic’s worst. It’s incredibly corny. Just listen to those ad-libs on the anti-suicide song “1-800-273-8255” (“WHO CAN RELATE?? WOO!”), or the hook on the title track. Which, let’s be clear, the title track is not about being “inclusive” as much as it’s just Logic whining about being biracial. Oh, and Logic can’t sing either. He shouldn’t do that. I like a lot of 6ix’s beats on here though! NOT RECOMMENDED

 Bloom – Machine Gun Kelly

This is the worst piece of shit I have heard all year. “Heard” as in taken semi-seriously – I’m sure there are worse albums out there that I wouldn’t ever bother with. Here were my thoughts on the singles….and it got even worse from there. Listening to this white-washed Pop-Rap garbage is something I will regret until my dying day. I couldn’t even muster up the energy to give it a full review on YouTube. I just wanted it out of my life. I guess I’ll leave you with one somewhat constructive criticism: if there’s one hole that REALLY sinks this ship, it’s MGK’s unnecessary forays into singing on tracks like “Go For Broke”, “At My Best”, “Let You Go”, and the horrific country attempt “Rehab”. NOT RECOMMENDED

Poison the Parish – Seether

Believe it or not, this album actually has some pretty cool moments! The mopey Butt Rock thing doesn’t always sit well with me – the beginning of “Against the Wall”, for example makes me cringe…”I WAS BOOORNNN TO FLLLYYY AWAYYY” – but I think Seether nails down their demographic exceptionally well on here. Tracks like “Betray and Degrade” and “Saviours” have a razor sharp hooks, and are great for a semi-mindless listen while you’re driving. Even though I’m not a “fan” per se, having seen this band and gone through their discography, I’d like to say this is a crowning achievement for them. So maybe give it a listen out of curiosity! RECOMMENDED

 From a Room: Volume 1 – Chris Stapleton

In addition to the new offering from the Zac Brown Band, this was another Country album that I dug this month! This is Stapleton’s follow-up to his hugely acclaimed 2015 solo debut Traveller, and I’ve found his music really easy to get into as, well, not exactly a Country aficionado. Highlights include the bluesy “Them Stems”, the outlaw-tinged “Up to No Good Livin’” (LOVE the slide guitar in that one!), and the spare, intimate ballad “Either Way”. RECOMMENDED

One More Light – Linkin Park

God help us. I tried to be open-minded, I swear. Since I’m not a Linkin Park fan at ALL anymore – even their old stuff hasn’t aged well for me – I actually found it quite easy to go into this Pop crossover attempt with an open mind. But as I explain here (to the tune of over 600 views right now, which is a lot for me!), I found most of this material to be incredibly lightweight, surface level, and trend-hopping all over the place. LP took an L with this one. NOT RECOMMENDED

In a World of Fear – Scale the Summit

One of the most popular instrumental Prog Metal acts on the planet, Scale the Summit have continued to flourish since I saw them open up for Between the Buried and Me back in 2010. I’m so pleasantly surprised that things are working out for them, ‘cause I really wasn’t sure if there was a viable market for what they do. But guitar geeks are a passionate bunch, and they’ll likely eat this album up with all of its stop-start, odd-time rhythms, and impossibly intricate interplay. Unfortunately though, I’m not the right audience for it. A song like “Astral Kids”, despite having so much inventive, virtuosic guitar playing, just sounds like a Berklee School of Music jam room to me. Which isn’t inherently a bad thing! It’s just not what I personally gravitate towards (even as a guitar nerd myself). I still need “hooks” of some kind – and Scale the Summit DID have hooks on early favorites like “The Great Plains” – but there’s just not enough memorable parts on this album to keep me coming back to it for more than the “wow, they can play their asses off!” factor. NOT RECOMMENDED

The World Ablaze – God Dethroned

In a month where Metal felt as scarce as STD-free pussy in a whorehouse, these Dutch veterans delivered a solid slab of no-frills Extreme Metal. This records boasts some pretty memorable riffs (exhibit A: the demonic intro to Thrash/Death Metal hybrid “Annihilation Crusade”), it doesn’t try to be too fancy or experimental, and best of all, its production retains a slightly raw but powerful sound. Modern Death Metal has gotten so fucking pristine and robotic sounding that it drives me nuts , so it was refreshing to hear an LP that was still beautifully mixed but had a little humanness, a little UMPH behind it. RECOMMENDED

T-Wayne – T-Pain & Lil’ Wayne

When T-Pain tweeted – completely out of the blue – that he was releasing a bunch of shelved T-Pain/Lil’ Wayne collabos from 2009, the Internet rightfully lost their shit. “These are lost gems from when the two of them were in their prime!” we all said to ourselves. And whether these eight songs would’ve been ill in 2009, we’ll never know, but in 2017, I’m not into it at all. The first unpleasant surprise is that T-Pain raps a bunch on here – his flow on the Willy Wonka-sampling “Listen to Me” is clunky as hell. The second unpleasant surprise is that the wackest bar of Lil’ Wayne’s career was actually recorded in 2009, during his supposed prime. Who knew? But the line “She was like Damn Damn Damn ‘cause I hit her with the wham wham wham” is certainly something special. NOT RECOMMENDED

A FEW MORE:

LIKE:

You’re Welcome – Wavves

Neva Left – Snoop Dogg

This Old Dog – Mac DeMarco

Welcome Home – Zac Brown Band

DON’T LIKE:

Crooked Teeth – Papa Roach

Louder Harder Faster – Warrant

Revelation – Oceano

 

 

March 2017 Album Round Up!

So, halfway through the month of April, you’re getting my recap of all the music that came out in March. Sick, right?

Though I never try to be particularly timely, this is particularly untimely, and for that I am deeply sorry. Well, I’m not sorry, ‘cause I don’t really care about your feelings, but it does feel like I’m turning in a big paper past its due date or something.

The reason this month’s Round Up is a bit late is because my band spent a week in the studio laying down our debut singles with Joe Cocchi from Within the Ruins. We had such a fucking blast, and I’m beyond psyched to share them with the world in the coming months! I’m so proud of the work we did, and I’m so grateful to Joe being every a band can ask for in a producer. But at the same time, it’s nice to get back to being a “listener”, ya know? As I write this, Kendrick Lamar AND John Mayer have just dropped new albums, and Gorillaz, All That Remains, and more are on their way, so it’s safe to say there will be no shortage of content for my April Round Up! But hey, March wasn’t too shabby either. Here are my thoughts on some of last month’s releases:

Divide – Ed Sheeran

This is gonna sound fucking weird, but bare with me. The only thing Divide has going for it is (ahem) cuteness. No, not Mr. Hipster Ron Weasley himself (though I’m a straight male so how would I know?), but the songs themselves. The only moments I enjoyed on this otherwise pretty bland LP were the charming, cheeky ones, like on “New Man” when Sheeran neurotically jokes about Instagram creeping (“trying not to double tap/I know that’s where the trouble’s at”), or on “Eraser”, where he, I guess, “raps”. There’s also “Galway Girl”, which uses actual Irish instrumentation to a below-deck-Titanic-scene effect. These are the only times I felt truly engaged. Otherwise I’m kind of indifferent. NOT RECOMMENDED

Number 1 Angel – Charli XCX

 Though she has been featured on two of the most annoying chart-toppers in the history of music (Icona Pop’s “I Love It” and Iggy Azalea’s “Fancy”), Charli XCX makes fucking outstanding Pop music as a solo artist. Her latest mixtape is my favorite Pop project of 2017 thus far. It DOES occasionally cater to some industry trends – the opening one-two punch is a trap-heavy banger (“Dreamer”) followed by a dancehall-informed number (“3 AM”) – but Charli maintains a spunky swagger that is all her own. The EDM-dominated “Roll With Me” is likely to be a party favorite, while the ballad “Emotional” is lucky to get stuck in your head for days at a time. HIGHLY RECOMMENDED

Godless Prophets & the Migrant Flora – Darkest Hour

The unsung heroes of the New Wave of American Heavy Metal returned this month with their crowdfunded ninth album, an unquestionable return-to-form following 2014’s polarizing self-titled release, which was a little too “Warped Tour” for the Metalcore quintet’s diehard fans. Prophets sizzles with quintessential Darkest Hour fury, though its strongest cuts (“None of This is the Truth”, “Enter Oblivion”) are the dynamic ones that are able to balance the aggression with quieter passages. Though I didn’t love every track, my longstanding Metal heroes delivered. Here is a full review. RECOMMENDED

Obsidian Arc – Pillorian

Likely to be one of my top Metal albums of the entire year, ex-Agalloch frontman John Haughm’s first release since his legendary band’s breakup is nothing short of extraordinary. Imagine if Agalloch made a record that fused some of their moody, acoustic passages with a straight up, quintessential Black Metal sound. It’s as fucking amazing as you pictured it. Obsidian Arc manages to bring some of Agalloch’s signature strengths to the table while effortlessly capturing every single mood that’s ever been associated with Black Metal: rage, despair, terror, agony, depression, and everything in between – they’re all on this record. I could go on forever about this fucking thing on here, so here is a full review instead. HIGHLY RECOMMENDED

More Life – Drake

Aside from the entrancing nightclub melancholy of “Passionfruit”, which was one of my favorite songs of the year so far, and the rousing Kanye collab “Glow”, I don’t have much to say about Drake’s Views follow-up that isn’t “meh”. The guy just hasn’t wowed me in a long time. His musical continues to veer into wallpaper territory, and his petty personality continues to rub me wrong. But just like all of his past projects, the shining moments on More Life give me reason to continue to root for the guy in the hopes that he wows me again. NOT RECOMMENDED

Heartworms – The Shins

On the band’s sixth LP, The Shins continue to be a definitive band for the Alternative genre. But they manage to do it while weaving together a track list that’s anything but one-dimensional. Two of my favorite songs on here are the synth-peppered “Cherry Hearts” and the Alt-heavy, acoustic-driven title track, both of which couldn’t be more different from one another. James Mercer’s ability to stir ingredients from several different corners of Alternative music into one delicious recipe continues to impress me. This is one of his best works. HIGHLY RECOMMENDED

Rather You Than Me – Rick Ross

I have never been a fan of Rick Ross. Though he’s had a banger or two on almost every record, I’ve never been able to enjoy his fabricated lyrical narratives and by-the-numbers mainstream Rap sound. So it came as a complete and utter shock when Rather You Than Me was fucking awesome! I still can’t believe how much I’m enjoying this. The production is outstanding, whether it’s the lavish, luxurious sound of tracks like “Santorini Greece” and the saxophone-driven “Game Ain’t Based on Sympathy”, or it’s trap bangers like “Dead Presidents and “Summer Seventeen”, or it’s the more stripped-down, simplistic sounds of the Birdman diss “Idols Become Rivals” or the Nas collab “Powers that Be”. As for the features? They’re out of this world. The aforementioned “Dead Presidents” has possibly the best Future verse I’ve heard since 2011. And Nas, Scrilla, Yo Gotti, Jeezy, Young Thug, and many more ALL add a ton of character to this tracklist. And on some of these songs, Ross even sounds a bit more – hold your breath – HONEST. Like he’s not making everything up this time around. But even if he is, he’s made an excellent record. Here is a full review. HIGHLY RECOMMENDED

 Conformicide – Havok

The fourth LP from these Colorado thrashers is nothing short of astonishing. Though the band’s musical foundation is built on the Megadeths and Death Angels of the world, Conformicide spends as much time pushing boundaries as it does worshipping its heroes. It takes Thrash in some proggy territory, some political territory, and punishes listeners with more twisted, mean riffs than they even know what to do with. Not to mention bass wizard Nick Schendzielos, who provides some of the best and most inventive bass playing I’ve ever heard on a Thrash record on highlights like “F.P.C”. See, ann album like Conformicide is precisely why I’ve given (unpopular) mixed reviews of recent efforts from the likes of Metallica, Testament and Overkill – look at how a band like Havok is pushing Thrash as a whole! Younger Thrash bands like Havok and Vektor continue to set the bar for the genre. HIGHLY RECOMMENDED

Eternity, In Your Arms – Creeper 

Unfortunately, ya boy doesn’t buy into the hype. Creeper’s highly anticipated debut was supposed to turn Pop Punk on its head, but all it did for me was give me a few super catchy emo-tinged jams (namely “Black Rain” and “Hiding With Boys”) and spent the rest of its runtime underwhelming me. But there are definitely times, like on standout track “Poison Pens” where these guys feel like they COULD be worthy successors to AFI. Or, you know, maybe I should stop trying to like music like this. I don’t know. NOT RECOMMENDED

Bloodlust – Body Count

Not only was this fucking thing my Record of the Month, but it was the most pleasant surprise of 2017 so far. Ice-T and Co made a crushing M-E-T-A-L record that I had no idea they were capable of! While still proudly Hip-Hop influenced, Bloodlust is legitimately crushing, especially on the Randy Blythe-assisted “Walk With Me…”, the vengeful “This Is Why We Ride”, the irresistible title track, and the politically-charged “No Lives Matter”. I just can’t believe how good this is…Here is a full review. HIGHLY RECOMMENDED

A FEW MORE:

 

LIKE:

Woe to the Vanquished – Warbringer

Captain California – Murs

Hot Thoughts – Spoon

At What Cost – Goldlink

Obituary – Obituary (full review here)

Emperor of Sand – Mastodon

DON’T LIKE:

Look at Yourself – Emmure

Black and White Rainbows – Bush

The Wild – Raekwon

For the Fallen – Memoriam (full review here)

The Great Collapse – Fit For An Autopsy

Tremaine The Album – Trey Songz

 

 

February 2017 Album Round Up!

Wow, we’ve arrived at the First Anniversary of this segment! When I decided to write a post last March recapping all the records I was bumping in February 2016, I had no idea this was going to be a thing. But a year later, it’s become something I look forward to every month. It forces me to point my ears in all directions, and really think CRITICALLY about what I’m hearing, even if I’m not in “full review” mode.

I can only imagine that in another year, when we have our two-year anniversary (whooaaa things are getting serious. I hope all the sex hasn’t dried up by then), I’ll still be cranking these out the same way I am today.

And given that we’ve hit this big milestone, it’s only fitting that I add something new! As you might’ve guessed, I listen to a lot more than 8 – 12 albums every month. But just because I’m too lazy to write about all of them in descriptive detail doesn’t mean I shouldn’t let my feelings be known! So I’ve added a section to these Round Ups where I give a basic “like” or “don’t like” verdict on another batch of the month’s releases….with zero explanation. I guess it’ll be up to you to listen to ‘em and figure out my reasons for your own damn self!

But if you’ve checked out any of these Round Ups so far, thank you so much for your support! Hopefully I’ve turned you on to (or helped you avoid) at least one new album you otherwise might’ve missed. That’s all I’m trying to do here. It’s not rocket science. So if that happened for any of my readers, I couldn’t be happier; this thing is a success.

DROGAS Light – Lupe Fiasco

After 2015’s stunning conceptual project Tetsuo & Youth, Chi town’s most pretentious wordsmith takes an infuriating nosedive into half-witted commercial Hip-Hop. This album was a colossal disappointment for me. I don’t understand why Lupe still feels the need to make Pop-Rap ditties like “Pick Up the Phone” after he was trashed for making an album full of them (2011’s Lasers). In all fairness, DROGAS Light isn’t Lasers Part 2 – tracks like “NGL” and “Made in the USA” have more of a Trap vibe than anything else – but whatever it is, it’s equally uninteresting. In fact, it’s my least favorite Lupe project to date. Here is a full review. NOT RECOMMENDED

Suicide Silence – Suicide Silence

Modern Deathcore frontrunners Suicide Silence decided to shake things up for album number five, bringing in famed Nu Metal producer Ross Robinson and drastically altering their sound. Hey, I’m all for adventurousness – in fact, that’s the only reason I checked this album out. The only problem? It’s one of the worst pieces of shit I have ever heard. Eddie Hermida’s clean “singing” is about as easy to listen to as a Sandy Hook conspiracy theory. What makes things worse is Hermida’s patronizing, dismissive responses to any criticism of this album, claiming that anyone who doesn’t like it “just doesn’t get it” or is “full of hatred” or whatever. He’s like the fucking Donald Trump of shitty Nu Metal. Here is a full review. NOT RECOMMENDED

Flying Micronatal Banana – King Gizzard & the Lizard Wizard

These guys are quickly becoming favorites of mine! This record in particular is an inventive blend of Psychedelic Rock, and Alternative with free-flowing, exploratory musicianship that keeps things interesting all the way through the track list. The eerie hookiness of a cuts like “Sleep Drifter” and “Melting” has made this the most addicting listen of any LP this month. HIGHLY RECOMMENDED

Prisoner – Ryan Adams

One of the most prolific songwriters in all of music came through with a set of painfully relatable tunes that center primarily on heartbreak and loss. Whether or not he intended it to be, it’s the ultimate breakup album. On the musical side of things, the balance between crunchy Heartland Rock, Folk-Rock balladry, and dashes of country is gracefully executed . And I have to particularly praise the impossibly gorgeous clean guitar tones that Ryan achieves throughout this entire thing – they make it worth the listen all on their own. Here is a full review. RECOMMENDED

I Decided. – Big Sean

Upside: with I Decided, Big Sean gave us his strongest project to date, featuring well-thought out concepts, an uncharacteristic amount of introspection, and some familiar clever word-play. Downside: the guy is still churning out horribly generic, Drake-biting songs like “Bounce Back” and “Moves”. Upside: with the sweet chick-swooping ballad “Jump Out the Window” and the stunning “Bigger Than Me”, Sean gave us not only HIS best two songs to date, but two of the best songs of the year. Downside: at one point, he rhymes “Channing Tatum” with “J. J. Abrams” and “Jason Statham”. Ugh. Very frustrating. But like I said, this is his best work to date, and I look forward to what the Detroit spitter does next. Here is a full review. NOT RECOMMENDED

Torment – Six Feet Under

 While there’s nothing outwardly WRONG with the 12th outing from these Death Metal veterans, it’s so painfully meat-and-potatoes that I’m gonna have to pass over it. Which, that more has to do with MY tastes than anything else – it’s more a “me” thing than a “them” thing. But the dumbed-down riffs on a song like “Knife Through the Skull” are mind-numbing for me (who knew ex-Cannibal Corpse frontman Chris Barnes would sing a song called “Knife Through the Skull”? What a plot twist!). I do really enjoy the track “Bloody Underwear” – it brings a bit of a Hardcore mosh sensibility, and it’s a lot of fun! (though the supposedly violent title could just be referring to his special lady’s time of the month…..just saying). Bottom line: if you like your Death Metal stripped to the bone and ultra groovy, you might dig this, but – with as little pretentiousness as possible – it’s just a bit simple for me. NOT RECOMMENDED

Chief – Jidenna

The man behind “Classic Man” proves that he’s anything but a one-hit wonder. On Chief, he’s versatile as hell, one minute pulling together a song like “Trampoline” – the ultimate soundtrack for a private dance at a strip club – and the next minute, commanding your attention with clever, posturing bars on “Long Live the Chief”. And smooth melodies abound, whether it’s the aforementioned “Trampoline”, or it’s the slick balladry of “Bambi”, or the exotic “Adaora”. The melting pot production is worthy of mention too – The Let Out” is like a DS2 Future/DJ Mustard mash-up, “Safari is a R&B/Hip-Hop mixture that The Weeknd would crush, “2 Points” features some punchy horns, “Long Live the Chief” is electro minimalism that oddly works. If only he had left the obligatory post-“One Dance” dancehall song off (“Little Bit More”). But I’ll forgive it, ‘cause this is one promising debut. HIGHLY RECOMMENDED

The Grinding Wheel – Overkill

 The legendary East Coast thrashers followed up 2014’s exceptional White Devil Armory with a record that’s significantly less exceptional, but still passable. This time around, the riffs just felt a bit less punchy and exciting, and the tracks dragged on and on for unnecessary lengths (similar to my gripes with the new Metallica album), which left me feeling underwhelmed. There’s still some bonafide rippers though, like the opener “Mean, Green, Killing Machine”, or “Our Finest Hour”, which has a couple devastating riffs and some shrieking vocals from frontman Bobby “Blitz” Ellsworth. Here is a full review. RECOMMENDED

Gelato – Young Dolph

The only noteworthy moment on this project is the Yo Gotti diss track (“Play Wit Yo Bitch”), which I have to at least commend for the DIRECT, very UN-subliminal nature of the insults, as basic and schoolyard as they are. And one more track I might come back to is “On the River”, because A) “fucked her on the river” is such a hilarious refrain, and B) the beat is HARD. Other than that, Gelato is one of my least favorite Hip-Hop projects I’ve heard this year. It’s got every stereotype that non-Rap fans gleefully shit on – posturing, smoking weed, banging bitches, and of course posturing about smoking weed and banging bitches. Wasn’t anything for me here, especially when Dolph’s rival Yo Gotti brought such FIRE with CM9 recently. NOT RECOMMENDED

Origins – Mutiny Within

The Little Metal Band That Could is still chugging along six years since being dropped from Roadrunner Records due to the disappointing commercial performance of their self-titled debut. I have loved this band since day one – their blend of melodic, keyboard-driven European Metal with the riff-tastic Metalcore of their American counterparts made them the band I wanted to be IN growing up. And Origins, their third LP, turned out to be their best yet! The album effortlessly sways between noodling technicality and accessible – dare I say, slightly Poppy – hooks. It’s probably not for everyone, but it feels tailored EXACTLY to my tastes. HIGHLY RECOMMENDED

 Plato O Plomo – Fat Joe & Remy Ma

So Joey Crack and Remy Ma decided to follow up their vernacular-defining mega-hit “All the Way Up” with a full album,. On Power 105.1’s The Breakfast Club, the two emcees deemed the project a “complete masterpiece” and I strongly disagree. It’s full of a lot of empty boasts, standard gangsta rap bars, and the occasional hilariously clumsy sexism (like the beginning of “Go Crazy”), or lyrically challenged rhyme scheme (Fat Joe rhymes “Narcos” with “Pablo” on “Spaghetti”). There are a couple beats go hard, like the menacing “Swear to God”, or the riled up “Cookin”, but nothing to see here, really. NOT RECOMMENDED

A Few More

Like:

Atonement – Immolation (Death Metal)

The Breaker – Little Big Town (Country)

The Feminine: Act II – Anna Wise

Fin – Syd (R & B)

Drunk – Thundercat (Jazz Fusion)

Dislike:

NAV – NAV (Hip-Hop)

HNDRXX – Future (Hip-Hop, R & B)

 

 

2017 Grammys Rundown: Who Won, Who Should’ve Won, and More Angry Thoughts

If you’re anything other than the most casual, Kool Aid-chugging Z100 listener, you’re probably aware that the Grammys suck massive amounts of dick a good amount of the time. I’m not going to get myself all worked up here with a Grammy Awards: Cluelessness and Disrespect 101 history lesson, but you get my point. (Side note: Sometimes I wonder if film buffs feel the same about the Oscars, but I’m as fair weather a moviegoer as they come, so if that’s the case, I’m part of the problem.)

Of course I love music too much to look away, and every year my morbid curiosity gets the best of me.Here’s a cathartic synopsis of some of my most primitive thoughts: the right decisions, the wrong decisions, and some additional commentary about the show itself. So I’ll begin with a dissection of the categories relevant to this blog, and end with a bunch of self-absorbed opinions. Enjoy!

Category: Album of the Year

Winner: 25 – Adele

Who Should’ve Won: Lemonade – Beyonce

Why: Ask Adele. She’ll tell you.

 

Category: Song of the Year

Winner: Hello – Adele

Who Should’ve Won: Hello – Adele

Why: Despite my personal distaste for it, “Hello” has been a ubiquitous radio monster for the last 18 months, and with its success we saw Adele reach an even higher echelon of stardom than on her tremendous 21 album cycle.

 

Category: Best New Artist

Winner: Chance The Rapper

Who Should’ve Won: Anderson .Paak

Why: Chance is not NEW you fucking idiots. Since Acid Rap dropped in 2013, he has been the de facto face of independent Hip-Hop and a massively influential force in the industry’s ever-evolving approach to music distribution. But hey, I guess when you’re half a decade behind, he IS new.

 

Category: Best Pop Duo/Group Performance

Winner: “Stressed Out” – Twenty One Pilots

Who Should’ve Won: “Stressed Out” – Twenty One Pilots

Why: So we could see one of the best acceptance speeches of all time.

 

Category: Best Pop Vocal Album

Winner: 25 – Adele

Who Should’ve Won: Dangerous Woman – Ariana Grande

Why: Beyonce may have had the artfulness and critically acclaim, but Ariana had the hits! Not just one or two, but a whole album full of them! Like it or not, Dangerous Woman is such a flawlessly executed Pop record that it’s still dominating airwaves EIGHT MONTHS after its release.

 

 Category: Best Pop Solo Performance

Winner: “Hello” – Adele

Who Should’ve Won: “Dangerous Woman” – Ariana Grande

Why: Far and away the better song! Plus, it was so cool to hear some bluesy guitars make it onto the charts.

 

 

Category: Best Rock Song

Winner: “Blackstar” – David Bowie

Who Should’ve Won: “Blackstar” – David Bowie

Why: Even though this is classic “better-late-than-never” posthumous appreciation from a clueless institution, “Blackstar” is an amazing song. Radiohead’s “Burn the Witch” gets a close second here.

 

 Category: Best Rock Performance

Winner: “Blackstar” – David Bowie

Who Should’ve Won: “Blackstar” – David Bowie

Why: What a joke that Bowie’s competition for best ROCK performance was a fucking Beyonce song and Disturbed’s Simon & Garfunkel cover. Fuck the Grammys.

 

 Category: Best Metal Performance

Winner: “Dystopia” – Megadeth

Who Should’ve Won: “Dystopia” – Megadeth

Why: Would’ve been happy with Megadeth, Baroness, or Gojira on this one. All three are favorites of mine! The Grammys are so historically clueless with Metal that you just hope the dice land in a reasonable place (i.e. NOT Motorhead winning for a Metallica cover, or Tenacious D beating out Slipknot, Mastodon, Motorhead, and Anthrax).

 

Category: Best Rock Album

Winner: Tell Me I’m Pretty – Cage the Elephant

Who Should’ve Won: Weezer – Weezer

Why: Weezer was a Top 5 Album for me last year. Cage…maybe in the top….300? Haha. Oh, and Gojira is not a “rock band” guys. The Grammys’ ignorance would almost be cute if it wasn’t so upsetting

 

Category: Best Urban Contemporary Album

Winner: Lemonade – Beyonce

Who Should’ve Won: Lemonade – Beyonce

Why:

 

Category: Best Rap Album

Winner: Coloring Book – Chance the Rapper

Who Should’ve Won: The Life of Pablo – Kanye West

Why: MASSIVE respect to Chance for his much deserved win! Couldn’t be happier for him. It’s a big moment in Grammys history since Coloring Book is a “free project” and all. I just preferred TLOP.

 

Category: Best Rap Performance

Winner: “No Problem” – Chance the Rapper

Who Should’ve Won: “No Problem” – Chance the Rapper

Why: One Summer ‘16’s most irresistible and inescapable bangers. Blows the other four nominees out of the water (let’s face it, the nominees themselves are the real issue a lot of the time).

 

Category: Best Rap song

Winner: “Hotline Bling” – Drake

Who Should’ve Won: “Famous” – Kanye West feat. Rihanna

Why: Drake did crush it with “Hotline Bling”. He really did. But it’s another in a long line of petty bitter ex-boyfriend-isms from Drizzy that glorify controlling, chauvinistic nonsense. So I guess I’ll go with the less concealed chauvinism on “Famous”.

 

Category: Best Rap/Sung Performance

Winner: “Hotline Bling” – Drake

Who Should’ve Won: “Hotline Bling” – Drake

Why: I HAVE to give him this. Much more appropriate in this category anyway ‘cause he’s barely even “rapping” on this track.

 

Some More Thoughts:

  • A Tribe Called Quest’s performance was one of the greatest moments in Grammy history. So powerful, so true to their legacy, and so NEEDED. Please watch it if you haven’t yet! They call Trump “President Agent Orange” on national television.
  • Say what you want about Adele beating out Beyonce, but to her credit, she did a HELLUVA better job being a white apologist than Macklemore did when he beat out Kendrick. I still cringe so hard when I think about that.
  • The Chainsmokers need to go away. I’m praying that they’re relevant by the 2018 show. Unfortunately I’m an Atheist, so Closer 3.0 and Closer 4.0 might be up for some awards next year (Closer 2.0 is “Paris”, in case you’re wondering).
  • Twenty One Pilots gave one of the most memorable, touching acceptance speeches I’ve ever seen. Though I’m beginning to grow out of their music, I’m so happy for those guys and all their much deserved success.
  •  Putting aside the two things that everybody was upset about – James Hetfield’s mic being turned off and the tranny forgetting to mention Metallica’s name when he/she introduced them – the Metallica/Lady GaGa collaboration was fucking wack. Having been not only a fan of GaGa, but aware of her unabashed Metal fandom for quite some, I had high hopes, but it was as awkward and forced as an Anakin/Padme love scene in Attack of the Clones. Bummed me the hell out.
  • Lastly, to all you Metalheads getting your studs and leather in a wad over this shit – the Grammys have NEVER showed one iota of respect towards the genre. This is not new. You can get as pissed as you want, but what you should really do is focus your attention on bigging up the true METAL awards shows hosted by REAL members of the faithful like Revolver and Metal Hammer. Let’s put our energy into making these awards shows a cornerstone of the genre! Forget the Grammys. In Metal, when you’re not invited to the party, you start your own.

 

 

 

June 3rd Singles: DJ Khaled, A Day to Remember, and More

The first Friday of June bombarded us with a dizzying amount of new music, particularly singles! Below I’ve written up five of them:

For Free (feat. Drake) – DJ Khaled

“Another one” indeed, Mr. Khaled. DJ Khaled and Drizzy’s ode to bedroom prowess caught me – and, well, the rest of the world – completely by surprise. Drake is a little over a month past his enormous Views campaign, yet he drops a one-off single that’s better than his entire album! While I do miss the Toronto MC putting effort into the technical side of his rhymes, I love the Kendrick reference in the opening verse, and just the overall snarling cockiness of the whole track. It’s rightfully simplistic and fun – you can practically feel the summer breeze oozing out of the speakers. That being said, among others questionable lyrics, one line I particularly can’t let slide is “you’re the only one who can fit it all in her mouth”. To me this nonsense yanks away the playful aspect of the theme and turns it into run-of-the-mill graphic Hip-Hop. Not that there’s anything wrong with that, it’s just really unnecessary. It’s been a long time since the chauvinist, controlling messages of Drake’s music resonated with me, but at least “For Free” is a genuine banger.

Bad Vibrations – A Day To Remember

So here we stand with the second leak from A Day To Remember’s sixth album Bad Vibrations, due out August 19th. This new single – the title cut and album opener – will be directly preceding first single “Paranoia” in the track list, which I discussed here. “Bad Vibrations”, however, leans way further toward Metal than “Paranoia – it’s less urgent and more forceful. Oddly enough, the pre-chorus of this track – with its hammering double bass and harsh vocal – jumped out at me as catchier than the angsty chorus (which I did warm up to after a few listens). Clearly tailored toward the live environment, the breakdown here (“toxic!”) is extreme predictable, with dissonant chords and stabbing syncopated rhythms, but stylistically, ADTR are in a “damned if you do, damned if you don’t” scenario, so it’s difficult to fault them for it. When the breakdowns go away, the kids start whining. When the breakdowns show up, they’re “played out”. But I digress. “Bad Vibrations” is nothing special or extraordinary, but ADTR are 2 for 2 with me! August 19th needs to hurry up!

Whatever, Wherever – Band of Horses

I’m so psyched to have Band of Horses back! Tomorrow the indie rockers will release their fifth album, “Why Are You Ok?”, and this single “Whatever, Wherever” indicates we might be in for more in the vein of Infinite Arms, in the best way possible. The clean guitar tone is gorgeous, the falsetto backing vocals in the chorus are addictive, and the drums add a gentle backbone. It’s another Band of Horses song tailor made for night drives full of those larger-than-life moments – the ones where you gaze up at the sky and come to terms with your insignificance.

Maybe IDK – Jon Bellion

Jon Bellion has built quite a buzz in both Hip-Hop and Pop through several mixtapes, his association with Logic and Visionary Music Group, and yes, that Zedd song “Beautiful Now”. Hip-Hop really is a twisted system when you need to put out years of free music just to earn the right to release your debut album. Which is a right Bellion has apparently earned, as his debut The Human Condition is set to drop tomorrow. Unfortunately “Maybe IDK”, the LP’s fourth single, is generic as hell. It could be One Republic. It could be Phillip Phillips. Who really knows, because it’s that hard to tell. And FOH with that clapping nonsense! Clapping sections RARELY come off as anything but impossibly corny. When are people going to get that through their heads?? Anyway, despite my distaste for this track, I’ll hold out for the album.

Is Anybody Out There?  – Machine Head

From out in left field we have the first music from Bay Area titans Machine Head in over a year and a half. Making headlines for the lyrical references to Phil Anselmo’s “white power” incident, “Is Anybody Out There?” is a decent single from a band capable of more. The dramatic intro, featuring piano and a lead guitar lick in the vein of “Judas Rising”, is a check in the “positive” column. As is frontman Robb Flynn’s impassioned vocal delivery, which compensates enormously for the somewhat bland chorus lyrics. He’s remarkably convincing, and feels like he’s pouring his heart into every syllable. But my major gripe is the cringeworthy pseudo-rapping in the verses, calling to mind the nightmare that was Machine Head’s Nu Metal ventures on The Burning Red. When Flynn utters “Let me tell you something” like a Hip-Hop ad lib before the first verse, I cringe every time. But otherwise, the thrashing riffs, assaulting drums, and gruff vocals are all there.

April 2016 Album Round Up!

April 2016 was an insane month in my life. My final run as a college student, I spent my weekends living out of a suitcase and traveling up and down the East coast to visit friends at their respective schools before real life shows up and steps on our dreams. If I ever become a full-blown alcoholic, I will have April 2016 to blame. But in between binges on Jack Daniels, Xanax, and God knows what else, here are some releases that were the soundtrack to my escape (yep, that was an intentional In Flames reference!).

Weezer (The White Album) – Weezer

I couldn’t think of a better set of tunes to kick off the beginning of Spring. I haven’t heard anything from Weezer in over a decade that I’ve wanted to hear again, but the White Album is excellent. It has this light-hearted bounce to it that’s irresistible. It’s also succinct, not letting any of its ten songs slip through the cracks. Whether Nirvana deserves royalties for the “Lithium”-esque “Summer Elaine and Drunk Dori” is anyone’s guess, but it’s a hell of an album either way. HIGHLY RECOMMENDED

Gore – Deftones

Quite possibly my album of the year thus far. I’ve never been a Deftones guy, but Gore converted me. It has layers upon layers so it takes a few listens, but if you allow yourself to go along for the ride, you’re in for something special. Chino Moreno’s vocal performance on choruses like “Phantom Bride”, “Prayers/Triangles”, “Xenon”, and “Hearts/Wires” is breathtaking. I’ve especially beat “Phantom Bride” to death. My God. Here is a full review. HIGHLY RECOMMENDED

Views – Drake

Drizzy’s highly anticipated fourth album fluctuates between mildly underwhelming and utterly cringe-inducing. Views finds the Canadian-born superstar stagnating musically and regressing lyrically. Bars like “got so many chains they call me Chaining Tatum” and “Girl let me rock your body/Justin Timberlake” drag listeners back to 2009 kicking and screaming for the “hashtag rap” era. The crying shame is that the first six tracks are excellent, but things nosedive quickly, save a couple late-album highlights like the Rihanna-assisted “Too Good”. A major letdown. Here is a full review. NOT RECOMMENDED

You’ll Pay For This – Bear Hands

For Brooklyn, NY’s Bear Hands, album number three was a pivotal one. What an oversaturated market these guys are in. They are based in Brooklyn and they play electronic-infused indie Rock. Gonna go out on a limb and say it’s been known to happen. But You’ll Pay For This, while it doesn’t do much to distinguish itself stylistically, distinguishes itself in terms of quality. It’s simply a cut above its peers. And angst-ridden young adults will feel right at home with its lyrical content. Here is a full review. RECOMMENDED

Layers – Royce da 5’9

In early March, Detroit OG Royce da 5’9 dropped “Tabernacle”, the best Hip-Hop single of 2016 thus far, to promote his sixth solo album Layers. It was intensely personal and deeply moving, with stellar storytelling and grade-A production. The opening track of the LP, it’s followed by a set of cuts that, understandably so, don’t quite measure up to it. A majority are enjoyable, while some, like “America”, “Off”, and “Startercoat”, are on the boring side. It’s thoughtfully sequenced, with Royce’s lady problems woven in and out of typical lyrical flexing. But here’s the thing about Royce that fans should understand by now. If you are in the market (as I am) for old school lyricism and for flows that are more derivative of Nas than Future or Lil’ Wayne, the reliable Nickel Nine will deliver. And if you’re not, move along because there’s nothing here for you. Simple as that. RECOMMENDED

Dust – Tremonti

This is the strangest record of the month for me. NOT musically mind you – it’s actually pretty straightforward Metal-tinged Hard Rock. But given that Dust is simply “part 2” of the same recording sessions that produced last year’s Cauterize – an album I didn’t hate but was pretty lukewarm on – I am SHOCKED at how much better it is! Still trying to wrap my head around that. Here is a full review. HIGHLY RECOMMENDED

Book of Shadows II – Zakk Wylde

20 years after Zakk Wylde’s mellow cult classic Book of Shadows, we’re blessed with part two. Better late than never! Like its predecessor, Book of Shadows II is best enjoyed on an overcast, hungover Sunday or, once October rolls around, a brisk Fall afternoon with some foliage. It’s beautifully gloomy, and Wylde’s gravelly vocals make you momentarily forget that he’s actually from Jersey and not a good ol’ boy belting these tunes out across his cattle farm. And even though he’s unplugged for most of it, he does plug in for RIPPING electric guitar solos on tracks like “Lay Me Down” and “Lost Prayer”. Like Mr. Wylde himself, the track list is a bit bloated, but that’s a minor complaint. RECOMMENDED

Generation Doom – Otep

Otep’s Generation Doom combines the lyrical imagination of Five Finger Death Punch with the corny delivery of In This Moment’s latest dud, sprinkling in some generic Nu Metal-isms for good measure. There are even some painful rapped passages, like in the track “Down”. We get it, Otep. You’re not a fan of conformity. You’re not a fan of the fact that America fights wars. And you appear to be upset about it. But for the love of God, please learn to communicate it in a compelling manner. I suppose Generation Doom is heavy, and I like heavy. But “heavy” is literally all it has going for it. NOT RECOMMENDED

A Sailor’s Guide to Earth – Sturgill Simpson

This is Sturgill Simpson’s third LP and follow-up to the acclaimed Metamodern Sounds in Country Music. Like his sophomore triumph before it, A Sailor’s Guide to Earth completely transcends Country (or what has loosely become defined as “country” in the wake of the horrific Pop-Country explosion of the last half-decade plus). Simpson is unbounded in his use of horn sections, string arrangements, and anything in between on highlights like “Breakers Roar”, “Keep It Between the Lines”, and “All Around You”. I do have a gripe with the cover of Nirvana’s “In Bloom”: he made it his own, but I’m not sure the hard-hitting, singular sound of Nirvana’s debut should be tampered with in this fashion. Still, I’ve found a lot to enjoy here. I suppose “alt-country” is the categorical term, but what the hell do I know? Country is a genre I casually dip my toes into every now and then. And I’m quite glad I chose to get my feet wet with A Sailor’s Guide to Earth. RECOMMENDED

 

Thoughts On Meek Mill vs. Drake

You don’t shit where you eat.

On April 30th of last year, in a tweet that has since been retweeted 29,789 times and favorited 27,229 times, feminine hip hop mastermind Drizzy Drake made the following known regarding his well-respected but less-successful peer Meek Mill: “Dreams and Nightmares Intro really one of the best rap moments of our generation”.

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Over a year later, here we are in 2015, our attention span even shorter and planet Earth a few degrees warmer. After lending a hand to one of Meek Mill’s first smashes, “Amen”, in 2012, as well as numerous public praises of the rapper since, Drake drops another set of guest bars on “R.I.C.O.”, a standout track on Meek’s star-studded sophomore album, Dreams Worth More Than Money.

First, let’s get one thing straight. Drake’s feature on “R.I.C.O.” is a favor. Plain and simple. One of the most prominent entertainers worldwide, Drake’s guest appearance does nothing to boost his profile, and he very likely makes exponentially more money on ONE SHOW than he made on a feature for Meek Mill.

But alas, another career has been ruined by yet another mouth that refused to stay shut on social media. Salty that Drake hadn’t tweeted out his album, Meek Mill accused Drake of using a ghostwriter on “R.I.C.O.”, prompting Drake to release two diss tracks in response: “Charged Up”, and the knockout “Back to Back”. And yeah, Meek may or may not have responded later with his own track. But I prefer to end the narrative there.

The ethics of ghostwriting in hip-hop are another discussion entirely. But here are my 2 cents on the beef:

The blueprint (pun intended) for hip-hop beef is, and will always be, Jay-Z vs. Nas. Though it did escalate into a bit of street talk, the two legendary emcees kept it one hundred percent hip-hop, blessing fans with two of the best diss tracks ever recorded in “Takeover” and “Ether” (honorable mentions to “Supa Ugly” and “Last Real N*gga Alive” too). Regardless of whom you deem the victor, Jay-Z and Nas both brought BARS. For Meek Mill, it’s been clearly established that it was stupid of him to come at Drake. But if he was going to fully commit to this obvious publicity stunt, AT LEAST do it on wax. Jesus fucking Christ. If you’re an MC questioning another MC’s lyricism, fucking do it to him lyrically in however many bars you need to get your point across. Don’t call him out by writing 140 characters on the same website that Anthony Weiner was using to send pictures of his nutsack.

Quite possibly the most pathetic aspect of this whole thing is that it is allegedly over Drake not tweeting out Meek’s album. Here you are, an authentic street rapper squaring off against an artist who is relentlessly mocked for being feminine and sensitive (“Drake’s the type…” ring a bell?), and by some miraculous shift in the universe, you come off as the bigger bitch. I think Drake said it best himself in “Back to Back”: “you getting bodied by a singing n*gga”.

But more regarding the Jay-Z vs. Nas comparison. After Drake premiered the lukewarm “Charged Up” last Saturday, Meek had an ENORMOUS opening. “Charged Up” was more of a light jab. It immediately brought Jay-Z’s “Takeover” to mind, which while vicious, was more of a taunt, prompting Nas to up the ante with “Ether”, some of the most scathing bars ever laid down. Jay stood in the ring holding the belt, and Nas ran in and started throwing punches. But with last Wednesday’s superb, career-defining follow-up diss “Back to Back”, Drake had now managed to release his “Takeover” AND his “Ether”, to continue the comparison. We won’t even mention Meek’s “response”, because I already have a vicious hangover and don’t need any added depression.

The fallout from last week is perhaps the most intriguing part of the narrative. Since the battle came to its unanimous conclusion, I have attempted to listen to Meek Mill (Dreamchasers 2, one of my all-time favorite mixtapes, to be specific), and it is a completely different experience now. It is more difficult to take him serious. The same bars now sound weaker, the same hooks now sound cheesier, and as my mind begins to wander, the internal volume of “Back to Back” begins to eclipse Meek’s voice altogether.

On the other hand, aside from some of Take Care, I have been an extremely vocal Drake hater since Wayne first signed him. While acknowledging his talent, I’ve poured just as much energy into hating on him as I have into praising Kendrick Lamar. Yet after “Back to Back”, here I am re-downloading So Far Gone, and giving it the second chance I never thought I would.

Let this be a lesson, Before all you hyper-sensitive MCs think about going all middle school on us, take a good hard look at Jay-Z and Nas. If you’re not willing to contribute to the culture and make a “Takeover” or an “Ether”, stay the fuck out of the ring.