RL Grime’s “Stay For It” Single

If for the past few months there was some game show host running around offering $5 million to whoever could name the best EDM song of 2017, I would’ve been shit out of luck had he happened upon me. That was, until this past Friday. If that hypothetical guy came up to me on the street and stuck a camera in my face on Friday or any day since then, ya boy would have somewhere around $2,483,124 of after-tax money sitting in a few well-diversified Vanguard index funds. And maybe a Ferrari or two.

What I’m trying to say here is, this new track from Trap powerhouse RL Grime is fucking awesome.

As I talked about here, Mr. Grime’s “Aurora” single was one of my favorite party songs of 2016…for reasons not too distant from why I love this brand new single “Stay for It”, which features a collaboration with big-time R & B crooner Miguel.

Like “Aurora”, “Stay for It” is structured around two enormous, scintillating drops. I can’t even begin to imagine the hard-hitting, dramatic impact they’re gonna have in the live setting. Jesus fucking Christ.

Unlike “Aurora”, “Stay for It” has one of the biggest singers in the world lending his pipes for the occasion. Miguel’s appearance adds a completely new dimension to what’s already a massive sound. This song, simply put, would NOT be the same without the LA native’s belting high notes right before the drop. It’s kinda like when a rollercoaster stops at the top of a big plunge and everyone screams.

Miguel’s reverbed-out vocals elevate the song through its brief verses and its spellbinding bridge too, the latter of which features this rapid-fire synth line that sounds like it’s headed to outer space and back. This section kicks off a magnificent 50-second build to the final drop – a build that’s executed at a perfect acceleration, with enough frenzied momentum to make the final destination climactic, but avoiding any excessive delay that would make it tantalizing or frustrating.

Interestingly enough, “Stay for It” would’ve been a big deal even if it wasn’t as great as it is. ‘Cause other than Pop-House institutions like David Guetta or Calvin Harris, EDM guest vocals rarely utilize the star power of someone like Miguel. In fact, EDM vocal appearances are often anonymous and uncredited. So to have Miguel singing over a Melodic Trap banger like this one is huge for the genre – hopefully it’ll help bring this style greater exposure and inspire similar partnerships in the future.

According to RL Grime’s YouTube description for this track, him and Miguel started working on it in the back of a tour bus two years ago. Well, I’m glad they took their time, because the payoff was worth it ten fucking times over. PLEASE, do yourself a favor and check this out.

And if you’ve already heard it, go listen to it again.

 

 

 

 

 

 

All Time Low’s “Last Young Renegade”: Four Singles Deep

When I think “ATL”, a few things tend to spring to mind. Trap music is definitely the first thing. The Falcons in ’06 when they had Michael Vick, that’s another one. As is Donald Glover’s outstanding new television series Atlanta – which, it breaks my heart that it won’t be back this year due to Glover’s role as Lando Calrisian in the upcoming Han Solo movie.

But at second glance, ATL is also an acronym for one of the biggest, best, and now – dare I say – seasoned Pop Punk bands, All Time Low.

I grew up a Metalhead, so All Time Low were really the exception to the rule, offering me periodic breaths of fresh, bubbly Pop Punk air in between the bouts of Extreme Metal savagery that were consuming my life. Along with Yellowcard, Jimmy Eat World, New Found Glory, and a few others, All Time Low were my window into a scene that I casually enjoyed but was not a part of.

Surprisingly, this quartet’s adolescent angst has aged gracefully for me, as I routinely find myself running back to favorites like “Stella”, “Six Feet Under the Stars”, and “Break Your Little Heart”. But when it comes to keeping up with their new output, I’ve been relatively tuned out – 2011’s Dirty Work and 2015’s Future Hearts still have yet to find their way to my ears. But as soon as they announced their seventh album Last Young Renegade, I knew it was time to check back in.

The LP drops this Friday, and we’ve already got 40 percent of it at our disposal in the form of four different pre-album singles – let’s see how they stack up as we head into release day!

Last Young Renegade

Rather than warm up the stove and let the water boil for a bit, All Time Low shoot for pure ANTHEM with this opening title track (hey, it worked for Judas Priest on Painkiller, Black Sabbath on Sabbath Bloody Sabbath, and….yeah sorry, all my off-the-cuff references here are Metal ones). I love the “no bullshit, let’s get into it” approach, and if you ask me, they stuck the landing. There are two key elements to this song’s success: a) the addictive clean guitar part that drives the verses (and later doubles as the song’s piano outro), and b) the way the first 5 syllables of the chorus stab at the listener in unison along with all the instruments – it’s a powerful effect. Can’t get this one out of my head.

Dirty Laundry

You know what this song is? It’s a brilliant fake-out. For the first 2-and-half minutes, it has such a light, unassuming Pop touch to it that you forget you’re listening to All Time Low….and as soon as you forget that, the band explode out of the guitar solo into the climactic final chorus. That shift is so effortlessly executed! I also have to commend this song for sticking to a cohesive theme – the “dirty laundry” metaphor is kept afloat throughout with cheeky lines like “sometimes I trip over your history” or “her closet’s such a mess/filled up with all the skeletons she’s kept”. Loving this one too!

Nice2KnoU

Here we have a tune that reeks of (relatively inoffensive) genericism. The chanting, the peppy dance groove in the chorus that I knew would show up somewhere on this LP….it’s all something I could’ve conjured up in my head before I ever heard it. The band explained that this song is dedicated to fans and supporters who helped them in their early days….which, I never would’ve gotten that from these one-size-fits-all lyrics. It’s a very average song if you ask me.

Life of the Party

The first time I heard this track, I immediately winced in disgust at those glitch-y chipmunk vocals – one of modern Pop production’s most annoyingly overused trends. “Fuck, didn’t we JUST go through this with the new Linkin Park album?,” I thought to myself. But the more I listened, the more I realized this song TOTALLY pulls off the whole “I’m a rich rock star who constantly parties but underneath it all I’m depressed and worn out” type thing. Kind of like “I Took a Pill in Ibiza”, though “Life of the Party” specifically deals with a) alcoholism and excess, and b) the underlying identity crisis as a result of that lifestyle; frontman Alex Gaskarth finds himself staring into the mirror asking himself questions like “what the fuck is the reason now?”, and realizing that “in a sea of strangers, I can’t find me anymore” (the latter lyric is a favorite of mine). I find myself sympathizing with him immensely in what I see as a cautionary tale – the lifestyle he once glorified is beginning to eat him alive.

Having taken a five-year hiatus from new All Time Low albums, these singles are making me really glad I’m popping back in for Last Young Renegade. I’m curious to hear the remaining six songs – is what we’ve heard so far indicative of the rest of the record? Is this just the top layer of mindblowing greatness, or are we hearing the four “good” tracks from an otherwise unexciting snoozefest? And most importantly, what the hell is that Tegan and Sara feature gonna sound like on “Ground Control”? Guess we’ll have to wait and see!

 

 

Fergie’s “Life Goes On” Single

It’s now been a decade since Fergie Ferg’s fergalicious debut The Duchess had mainstream Pop radio in a strange hold. I remember it vividly – I was in 7th grade and still at the mercy of popular music (though to this day, whenever I decide to “socialize” and waste my hard-earned money at the shallow bar and club scene, I guess I still am). I was trying to attract girls and repel acne, but I of course did the opposite. And The Duchess, whether I liked it or not, was my soundtrack to that mess. In retrospect, “Glamorous” still holds up as a fantastic Pop single (shout out to Ludacris for ALWAYS playing his part flawlessly when he guests on Pop songs), and the rest of the record was obnoxious. But that’s neither here nor there.

Fergie’s back with another single, presumably from her rumored Double Duchess LP. I’ll give her a pass on that “M.I.L.F.$” single that she dropped earlier this year and give this one a fair shot.

Not so shockingly, “Life Goes On” benefits from glistening production. The intro pairs bouncy, plucked guitars with finger snaps, setting a lighthearted mood and giving Fergie’s vocals most of the spotlight. Then, for the chorus, she hops on that ever-so-crowded Tropical House train. I, for one, love the Tropical House beat, but isn’t this the wrong season? I’m not sure people are looking for this type of sound heading into heart of winter. But hey, I could be wrong.

Here’s the thing about Fergie –she is actually a legitimately great singer, and people tend to forget that, ‘cause she had a prominent role in a song called “My Humps”, which will go down as one of the worst songs in the history of mankind (just figured I’d gently remind you that that song exists– don’t worry, I repress the memories too). But “Life Goes On” gives her room to showcase her talents – she uses her pipes to put forth this blissful apathy that’s wrapped up in the lyrics. “Who cares anyway?” she sings. Ferg’s warning us not to overthink things or run ourselves in the ground with stress, because life’s gonna keep moving regardless. ““In the midst of all the madness/remember life’s beautiful”, she reminds us in the second verse.

Unfortunately, “Life Goes On” provides us with a sizable intermission from the whole Fergie The Singer thing, and Fergie the (Apparently) Rapper shows up. I guess instead of getting an A-lister to interject and spit a few horribly dumbed-down bars (a la Kendrick Lamar on Maroon 5’s “Don’t Wanna Know”) Fergie has chosen to be a utility player. And how could we forget her magical appearance on Kanye’s “All of the Lights”, one of the worst four bars Hip-Hop has ever seen – seriously, some people STILL don’t realize that’s even her!

Joking aside, her verse here isn’t actually that terrible. “Speed your loyalty up like Bugatti”? Ok that blows, but I can tolerate the rapping because the rest of the song is pretty decent. Kinda fluffy, but decent. Keep in mind, I’ve been unable to escape The Chainsmokers’ “Closer” for three months now, so my standards have gotten low as fuck.

But I wouldn’t mind one bit if “Life Goes On” takes off as a single. It’s passable, and I’m totally gonna give Double Duchess a chance. Especially since Fergie is secretly a Rock singer and appeared on Slash’s self-titled record back in 2010.

OH, and I swear at 1:25 she randomly ad-libs “TWO CHAINNZZZZ”. But the more likely scenario is that my feeble mind is slowly deteriorating. 🙂

Dark Tranquillity’s “Atoma”: Three Singles Deep

DT season approaching!

Swedish Melodeath legends Dark Tranquillity are one of the most consistent bands in Metal history. Not only did they kick start their career by leading one of the genre’s most influential movements, but they’ve churned out album after fucking album of world-class Extreme Metal for over two decades without so much as a slight misstep. Their forthcoming LP Atoma (out November 4th on Century Media) will be their eleventh full length, and they’re going into it with a ten-album winning streak.

One of my personal Mount Rushmore bands, DT are completely singular in the world of Melodic Death Metal. Their unique take on the genre is to be more somber than seething, more unassuming than technical, to sprinkle in keyboards and clean vocals without ever veering in a commercial direction. Vocalist Mikael Stanne’s signature snarl is somehow inviting and menacing at the same time.

I can’t say enough about how much I love these guys. But on the flip side, their sound hasn’t fluctuated significantly, and there’s only so many ways you can describe how head over heels you are for Welch’s fruit snacks. After a while, all you know is that you’ve loved them since you could remember, that life is always better when they’re around, and that they’ve never let you down. But with Atoma ten days away (!), I wanted to check in and see how these three pre-release singles are stacking up.

“Atoma”

 The first single I heard, the title cut is far and away the best of the three. The keyboard-centric intro bears a slightly resemblance to “Endtime Hearts”, a career highlight off their last record Construct, so this track was immediately in my good graces. Mikael Stanne’s clean vocals – something bands like Killswitch Engage credit him for popularizing to this day – are some of the most powerful he has ever delivered. His deep baritone has a bit more force behind it, stripping back some of the croonage (definitely not a word) that he has dabbled in. Though the lyrical themes aren’t transparent here, the chorus has a certain triumphant and motivational feel to it as he growls , “hold your head up high”. I’d also like to point out that DT are a band that thrive on subtlety – notice those quietly-mixed harmonized guitars in the chorus that boost the keyboards and create an incredibly FULL sound.

“Forward Momentum”

 “Forward Momentum” trades off between bleakness and aggression. The gloomy keys in the chorus are desolate and We Are the Void -esque, but elsewhere the guitars roar with chugging riffs. For Melodeath fans, that combination of chords in the post-chorus should be quite familiar (see: every Trivium song ever), so this track offers up no surprises. It’s run-of-the-mill DT, although “run-of-the-mill” generally bears a positive connotation for these guys.

“The Pitiless”

 A big factor in Dark Tranquillity’s singularity is that Mikael Stanne’s vocals are so easily deciphered through his raspy screams. It makes DT a bit more lyrically centered than other bands of their ilk, and “The Pitiless” is a prime example. I’m definitely curious as to what Stanne is specifically referring to in the chorus when he delivers the lines: “Alone in silence/Yes I am frightened and so are you/against pitiless indifference/we stand alone”. But either way, the sentiment of taking action in the face of apathy is heard loud and clear.  This song is also the most aggressive of the three singles. Not necessarily known for their riffing, that harmonized hammer-on section at 0:37 is the catchiest guitar part these guys have played in some time.

Essentially, these three tracks sound like a fusion of the last two Dark Tranquillity albums (2013’s Construct and 2010’s We Are the Void). They find the gents going about business as usual, and indulging in absolutely zero experimentation. That’s totally fine for three tracks, but I’m hoping for a curveball or two come November 4th.

Avenged Sevenfold’s “The Stage” Single

The connection between a diehard fan and his musical deities of choice is one of the most powerful things on Earth. Without missing an ounce of detail, I can recall EXACTLY where I was, what I was doing, and how I was feeling the first time I heard Avenged Sevenfold’s self-titled album. I can recall EXACTLY where I was, what I was doing, and how I was feeling the first time I heard Nightmare. And I can even tell you what I ate for breakfast, lunch, AND dinner the day Hail to the King dropped (a Bacon, Egg and Cheese from Dunkin’ Donuts, a peanut butter sandwich, and a cobb salad from Route 99 in southeast Massachusetts, respectively, as if you somehow gave a shit).

Since I was a young and mischievous little preteen shithole, it has been nothing short of a MAJOR EVENT every time Avenged Sevenfold has released a new album. And the band’s yet-to-be-announced seventh album is gearing up to be another massive happening in Rock and Metal, especially after 2013’s divisive Hail to the King which was, to use a lazy comparison, A7X’s “Black Album” (look, setting aside the “Sad But True” issue, the analogy does hold up. Hail to the King found the band dialing back their usual ambitious complexity and gunning for a sound meant to fill up stadiums. The Black Album did something very similar.)

And today, the world got a small taste of the madness to come: the first new Avenged Sevenfold track in over three years, entitled “The Stage”.

A7X fans have been trained to expect sharp stylistic left turns with every new record, but “The Stage” isn’t a total 180 from Hail to the King. The song’s simple, four-on-the-floor verse groove would’ve fit snuggly into Hail’s track list, as would its booming chorus.

Elsewhere, however, “The Stage” is dominated by Synyster Gates’ guitar playing, which is definitely a change of pace. This fucking track is LITTERED with Syn’s leads, some of them harmonized, some of them not, some of them measured and melodic and some of them chaotic and shred-tastic. It’s thrilling to hear lead guitars carrying an Avenged song on their shoulders again. It’s a cornerstone of the band’s appeal to have prominent lead guitar sections woven into a song’s structure (something that’s very Maiden-esque), and it’s an element that was sorely absent in parts of Hail to the King. If I had to pinpoint one thing that Avenged diehards will be most stoked about with “The Stage”, it’s gotta be the lead guitars returning front-and-center. In particular, that harmonized solo that waltzes in around 7:10 is CLASSIC fucking Avenged. As for Synyster’s solo from 4:40 to 5:25, that’s arguably the climax of this song.

Directing our attention over to M. Shadows, his vocal approach hasn’t changed too much. He’s still as raspy, tough, and forceful as ever, and he continues to throw himself in the running for “best Axl Rose impersonator” with his sassy cadences at the tail end of the second verse.

These eight-and-a-half minutes also mark our official recorded introduction to new drummer Brooks Wackerman. Wackerman’s role in the Avenged world will likely reveal itself with the release of more material, but in the first 90 seconds of “The Stage”, his drums are more involved than Arin Ilejay’s were on the entirety of Hail to the King.

“The Stage” is nothing revolutionary . It’s not about to silence all the non-believers and change the landscape of Rock music forever. It’s not about to pit entire fanbases against each other with its wild adventurousness. But there’s more than enough here to plant the seed of optimism for long time fans. And we’re waiting with bated breath for what comes next.

September 2016 Album Round Up!

Since I was three years old – to put that in context, since BEFORE the world witnessed Kate Winslet and Leo DiCaprio bang on the Titanic and her subsequent refusal to share a rather spacious floating door, choosing instead to let him die – this was the first non-Summer month that I have not spent in a classroom. That’s almost 20 years of steady structure tossed out the fucking window. It’s almost surreal, but in the immortal words of Blink-182, “I guess this is growing up.” And growing up meant that in September 2016 I was busier than I have ever been, working and interning for absurd hours, scrambling to find time for quality, in-depth listens of all of these new records, and trying to somehow squeeze out a social life and some gym hours. The whole listening-to-new-music thing worked out reasonably well, although the true release mayhem came RIGHT on September 30th, so I’m still catching my breath. But I’ve got a bunch of great stuff to recommend! Enjoy my ramblings, and hope you’re all looking forward to October as much as I am – it’s gonna be fucking STACKED!

Bad Vibrations – A Day To Remember

This Metalcore/Pop-Punk band’s last effort – 2013’s Common Courtesy – is one of my favorite albums ever. So I didn’t expect Bad Vibrations to meet that high water mark. In the end, I’m walking away feeling positive yet slightly underwhelmed. The first half of this LP is packed with some of ADTR’s best material to date, like “Bullfight”, “Naviety” (showcasing their poppier side), and the title track (showcasing their more aggressive side), but there are a few duds and filler tracks in the latter half (“Turn Off the Radio”, “Forgive and Forget”, “We Got This”) weighing it down. Here is a full review. RECOMMENDED

Birds in the Trap Sing McKnight – Travis Scott

I was a bit late to the Travis Scott party, so the peculiarly titled Birds in the Trap Sing McKnight is the first time I’m experiencing his new music alongside the rest of the world. Scott’s hugely hyped sophomore full-length is not perfect, but it’s PACKED with bangers, and it’s been my go-to party album for the entire month. Particular highlights include “Coordinate”, “Goosebumps”, “Pick Up the Phone”, and “Through the Late Night”, the latter of which is the best thing Kid Cudi has been involved with in over half a decade. Between Birds and Young Thug’s Jeffery project last month, Hip-Hop is incredibly turnt right now. RECOMMENDED

Winter’s Gate – Insomnium 

I haven’t disliked a single album from these Finnish Melodeath masters, but “Winter’s Gate” is special. It’s a conceptual behemoth that meets the highest of Melodic Death Metal standards without ever getting ahead of itself. Along with Be’Lakor’s excellent Vessels LP this past June, Winter’s Gate proves that this style of Metal is as vital as it ever has been. You might see this one again when the time comes for “Best Albums of 2016” discussions. HIGHLY RECOMMENDED

Natural Causes – Skylar Grey

For her second album as Skylar Grey, the “Love the Way You Lie” songstress took a bold leap from the cookie cutter Pop of 2013’s Don’t Look Down into something much more spacey and ethereal. I was psyched about the transition and wanted more than anything to be blown away by the whole record, but in reality, I fell in love with a handful of tracks and could take or leave the rest. Here is a full review. RECOMMENDED

Yellowcard – Yellowcard

Even though they’re one of my all-time favorites, Yellowcard’s swansong left me indifferent. There are some flashes of the Yellowcard that I grew up loving, but the track list suffers from what I call “ballad syndrome” – of 11 songs, 5 or 6 of them venture into ballad territory. That’s not ok for a Pop-Punk album, or any album for that matter. These slow cuts aren’t terrible, but it makes for a strange and uneven listen. Rather than going out with a bang or a whimper, Yellowcard went out with a polite wave goodbye. Here is a full review. NOT RECOMMENDED

The Atrocity Exhibition – Danny Brown

On his fourth project, Danny Brown is once again an utterly singular Hip-Hop artist, from his unmistakable delivery, to his slightly avant-garde production, to his eccentric, drug-riddled storytelling. Don’t be fooled by his abrasive persona though; the guy can rap his ass off. Just check the gritty “Lost” or the star-studded “Really Doe”, the latter of which finds Brown holding his own with heavyweights like Kendrick Lamar, Ab-Soul, and Earl Sweatshirt. On second thought, scratch that “Really Doe” analysis, ‘cause “heavyweight” now describes Danny Brown too – he’s not only at the top of HIS game, he’s one of the most compelling rappers on the planet right now.

Creatures Watching Over the Dead – Charred Walls of the Damned

 Richard Christy, Steve DiGiorgio, Jason Suecof, and Tim “Ripper” Owens fire up their Metal supergroup again for album number three. This is BY FAR my favorite record of theirs. Hearing Ripper’s soaring, melodic vocals over some legitimately heavy riffs is particularly refreshing – I don’t know about you, but I get tired of the same throat-gurgling screams over everything. I love to hear a singer with old school PIPES, and the ex-Judas Priest frontman really brings it here. The melodies don’t stop at Ripper either – the track “Lies” is sent off with an ultra poppy riff and a sugary guitar solo that sounds like a Pop-Punk band got parachuted into a Metal anthem. Elsewhere, shit can get crushingly heavy (“The Soulless”), technically dazzling (Jason Suecof’s harmonized lead in “Tear Me Down”), and even thoughtful (“My Eyes”).The songs aren’t ALWAYS there, but the mastery these veterans exhibit over the genre is a true joy to listen to. RECOMMENDED

The Altar – Banks

Banks sophomore LP is a noticeable improvement over Goddess, her super hyped but slightly underwhelming debut. Plodding moments like “To the Hilt” and “Poltergeist” hurt the track list in its latter stages, but I’ll be damned if there’s aren’t some bonafide Alt-Pop smashes on here. “Gemini Feed” has proven to be a wise choice for a single, and “Trainwreck” continues in a similar vein. “This Is Not About Us” veers more toward the Electro-Pop route, while “Fuck With Myself” contains explicit Hip-Hop nods – the latter a display of swaggering attitude previously absent in Banks’ music. She’s definitely headed in the right direction; in the future, I’d love to see her further explore the edgier side that she began to tap into with The Altar. RECOMMENDED

The Divine Feminine – Mac Miller

Mac Miller’s best album to date is vulnerable, sensual, and loosely conceptual, dealing almost exclusively with love, sex, relationships, and women. Never an MC who could quite carry a full-length on his own, Mac leans on his talented guests with the perfect amount of weight, whether it’s Anderson .Paak on the fun and upbeat “Dang!”, Ty Dolla $ign on the DJ Dahi-produced “Cinderella” (the LP’s best song by far), Kendrick Lamar on the closer “God Is Fair Sexy Nasty”, or his boo thang Ariana Grande on “My Favorite Part”. I am beyond impressed with Mac’s wholehearted commitment to exploring, developing and delivering something totally different from the rest of his catalogue. Love it or hate it, you’re unlikely to hear another Hip-Hop record quite like this one in 2016. RECOMMENDED

Sorceress – Opeth

It’s a crying shame that I haven’t had the time to give this album the full review treatment, but October’s going to be the busiest fucking month of the year and I don’t want to fall behind. It’s only been out for a week, but here are my two cents: if I want Still Life or Blackwater Park Opeth, I can continue to wear out those fucking records to death. I ENCOURAGE stylistic change, as long as the music is up to par. And Sorceress is easily the best of Opeth’s 2010s output – that dramatic, fan-dividing shift in Mikael’s vocal delivery finally feels at home amongst these proggy yet catchy tunes. At the time of the initial transition on 2011’s Heritage, it felt like career suicide, but Sorceress justifies the creative decisions Opeth have made these past few years. HIGHLY RECOMMENDED

Schmilco – Wilco

Wilco’s tenth album is delivered with the same modest indie spirit that I’ve associated with them since I first heard AM as a 14-year-old. Schmilco is laid back, chill as fuck, and most importantly, it’s folky without those big cheesy pop hooks vacuuming the life out of it (looking at you, Mumford & Sons, how’s it going?). It didn’t knock my world off its axis or anything, but it’s exactly what I anticipated. Can’t be mad at that. RECOMMENDED

 

Hopsin’s Pathetic “False Advertisement” Single

“The only pleasure we get from you is when you shut up and open your mouth,” Hopsin spews at women in his loathsome new single “False Advertisement.

This song genuinely fucking offended me. And I’m a white male so it should be impossible to offend me.

On “False Advertisement”, Hopsin sounds like every rape-y, sexually frustrated dude pointing the finger anywhere but inward for the lack of quality women in his life. His hypocrisy on the track is mind-boggling, as he insists to his female audience, “I have so much to give you” before arriving at a refrain that consists of him screaming “hoe, shut the fuck up!” and “these hoes better quit it” over and over at the top of his lungs.

I am not currently taking up residence inside Hopsin’s head (thank GOD), but here’s the essence of what he’s trying to say here: (some) girls are vain, money-grubbing sluts who will do anything to gain status – including degrade themselves sexually and date old rich white guys – while poor Hopsin is left with blue balls. The music video even features an old rich white guy applying sunscreen to a hot model’s back while she lays on the beach, as if that somehow proves Hopsin’s point.

The infantile mindset behind this song is so fucking pathetic. In reality, I think Hopsin just needs a hug, but attacking women in such a vicious, belligerent fashion without holding yourself accountable is inexcusable.

In fairness, any man who has ever pursued a woman has experienced some degree of Hopsin’s frustration – it’s inevitable during the early development of the Hoe Radar, before a man has learned to identify and seek out quality sexual partners. But either way, throwing a temper tantrum and telling a girl to “go cry some tears in your tear bag” is not how you respond to it. Oh, and Hopsin is in his 30s. Just thought I should mention that.

What infuriates me is Hopsin’s refusal to take responsibility for his own twisted misogyny. I’ll never try and claim that shallow and manipulative women don’t exist –spend 30 seconds at any bar in America and you’ll bump into one – but as one half of the sexual equation it is up to YOU to wade through the chlamydia-infested bimbos and locate the higher caliber girls. If you only spend your time chasing materialistic whores, how exactly do you expect that to color your perception of women? And since Hopsin lacks the self-awareness or insight to admit his own mistakes and correct them, he instead opts to be bitter and hateful, lashing out with lyrics that are as childish as they are hostile.

And no, the “nice guys finish last” doctrine (or “Good Guys Get Left Behind” as Marcus himself put it on Knock Madness) does not apply here, especially when Hopsin is literally encouraging parental abuse with the following words of wisdom: “you need a belt to that ass, if I was your daddy that’s probably what I would do”.

As for the song itself, the production has a pretty standard trap sound with a bunch of rapid fire 808 hi hats shoved WAY up in the mix, and Hopsin’s flow actually brings to mind the same Atlanta rappers he mocked on his “No Words” skit last year. But the music is not the issue here. The issue is the pitiful misogyny that this track not only co-signs but encourages at the expense of any thoughtful or constructive insight. I can actually feel myself growing less self-aware and more chauvinistic as Hopsin unloads these hateful words at me. I can only imagine how a woman feels.

I guess go ahead and listen to “False Advertisement” if you’re in the market for a cheap self-esteem boost – after all, at least you’re not a 31-year-old man who’s still seething about the pussy he didn’t get in high school. And if you DO fit that description, please start taking some goddamn responsibility.

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.