January 2018 Album Round Up!

Happy Super Bowl Sunday everyone! One of my favorite days of the entire year…

Not because of the game itself, mind you – but because Football finally fucking ends.

I didn’t like the sport when I was eight years old and refusing to drink the peewee football Kool-Aid, and I like it even less now as a grown man who has literally lost touch with friends because I won’t play fantasy football. So once this game comes and goes, it’ll be nice to not have to hear about Tom Brady for the next six months. That being said, I AM looking forward to JT’s halftime performance!

In other news, I just hit 500 subscribers on my YouTube channel which I’m incredibly psyched about! If you’re one of those 500 people, thank you so much! It means the world to me to have your support. And wait ‘til you see what I have in store for the channel this year! I have never been more inspired or motivated.

Music-wise, I’d say 2018 is off to a pretty solid start. Hip-Hop seems to be lagging behind a bit (I’m looking at YOU, Migos), but we’ve still got 11 months for it to catch up. And I’m sure it will. Looking at my ever-expanding “2018 Album Releases” spreadsheet on my desktop, I see zero reason why this year can’t be something special.

Ok, rant over. Here’s everything I’ve been listening to since my New Year’s hangover finally subsided:

Camila – Camila Cabello

 Since she turned Fifth Harmony into Fourth Harmony in 2016 by exiting the group to pursue her solo career, Camila Cabello has been on a seemingly unstoppable trajectory to superstardom. And her chart-topping debut not only confirms her commercial might, but also hints at some genuine artistic potential. The acoustic-driven “Real Friends” is a thoughtful meditation on fame and the superficial relationships that spring from it. By contrast, “In the Dark” explores the dynamics of celebrity romance, and how public figures often struggle to open up in their private lives. Then there’s the rousing dancehall number “She Loves Control”, which brings with it a production assist from Skrillex. And of course, singles “Havana” and “Never Be the Same” are already bonafide hits, and my prediction is that at least two more smashes from this track list will followI was pleasantly surprised by this LP and was really glad I gave it a chance. Here is a full review. RECOMMENDED

Catharsis – Machine Head

 Likely to be one of the most heavily debated Metal records of the entire year, Machine Head’s divisive ninth record is definitely messy. Listening to Catharsis, you’ll get a barrage of questionable lyrics, more than your fair share of guitar riffs that fall flat, and you’ll endure some head-scratching stylistic “adventures”. But Catharsis also reminded me of one of the most important principles I live by as a music fan: NEVER make a snap judgment on anything. ‘Cause once I lived with this album for a few days, I came to find that there was a lot to enjoy on it too, from the anthemic title track to the menacing “Heavy Lies the Crown” to the succinct but powerful “Kaleidoscope”. And I decided that – by a thin margin, mind you – the positives outweigh the negatives with this one. Here is a full review. RECOMMENDED

Dark Horse – Devin Dawson

If I had to pick an album of the month, here it is. Country artist Devin Dawson’s debut release immediately impresses with in its delicate balance of Country and Pop on songs like “I Can’t Trust Myself” and the Hot 100 hit “All On Me”. But Dawson also works in rock music (“Prison”), heartland sounds (“Placebo”), and Alternative singer-songwriter-isms (“Symptoms”) into these twang-y arrangements. My favorite thing about the LP, however, is Dawson’s ability to put together super relatable concept-driven lyrics: see his unique break-up song angle on “Secondhand Hurt”, his colorful depiction of a bitter ex on “War Paint”, or the passionate– if socially apathetic – lover who narrates “I Don’t Care Who Sees”. Definitely an artist to watch! HIGHLY RECOMMENDED

Mania – Fall Out Boy

 Despite the rest of the world leading me to believe this would be the worst thing I would ever hear, Fall Out Boy’s polarizing seventh LP really isn’t that bad. Sure, the opening track and lead single “Young and Menace” is a dud – a clunky, ill-advised EDM attempt. And yes, “Sunshine Riptide” could’ve done without that forced collaboration with Nigerian Reggae artist Burna Boy. But amongst these underwhelming ditties are standouts like “Bishops Knife Trick”, the stadium-ready ballad that closes the album out, as well as the high-energy, ultra-quotable “Last of the Real Ones”, and even the Tropical House experiment that is “Hold Me Tight or Don’t”. So while I wouldn’t necessarily hold this album in high esteem, it’s not an absolute TRAGEDY either – it’s more or less just somewhere in the middle. Here is a full review. NOT RECOMMENDED

Vale – Black Veil Brides

Almost eight years ago now, I checked out Black Veil Brides’ super-hyped debut album We Stitch These Wounds and quickly wrote it off as – at best – Bullet For My Valentine-lite. Then, the band got bigger and bigger and bigger. They notched three straight top ten albums, they were getting booked on major tours supporting the likes of Avenged Sevenfold, Motley Crue, and Slash, and they had apparently changed their sound into something a bit more “Rock-oriented”. So, with album number five here, I decided to give them a chance. And, I regret it. The lyrics – consisting of lines like “shout it from the tallest building”, the usage of the dreaded “fade away” cliche in a handful of songs, and worst of all, a steady stream of filler “woah oh’s” the other 20 percent of the time – are horribly corny. And the music? It’s nothing to write home about. The band oversaturate every song with Avenged Sevenfold-lite guitar harmonies, make every chorus excessively dramatic, and bring only one genuinely heavy riff on the whole LP (“My Vow”). Glad I satisfied my curiosity I suppose, but I’ll pass. Here is a full review. NOT RECOMMENDED

Grimmest Hits – Black Label Society

Yikes. Maybe it’s me….it could very well be me. After all, a lot about my tastes has changed since the last record I dove into from the Zakk Wylde-fronted hard rockers (2010’s Order of the Black). But, man. I found Grimmest Hits to be excruciatingly boring. And ironically, doesn’t BLS have a song called “Bored to Tears” in their back catalogue? Well, they understand how I feel then. The recycled riffs don’t excite me, the vocals often sound uninspired (see verse one of “The Betrayal”), and the muddy mix doesn’t help matters either. Sounds like Zakk and the boys need to tweak their formula the next time around. Or maybe Zakk should just make Book of Shadows III instead. NOT RECOMMENDED

P2 – Dave East

With his acute sense of Golden Age lyricism, strong emphasis on narrative-focused rhymes, and gritty authenticity, Harlem MC Dave East has been one of the up-and-comers in Hip-Hop that I’ve most been rooting for these past couple years. Unfortunately, last year’s PARANOIA: A TRUE STORY project left me slightly disappointed with its lack of focus and a bit of filler. But the good news? P2 is East in tip-top form. Whether he’s paying homage to his inspirations on “What Made Me”, or holding his own in a toe-to-toe bar fest with Lloyd Banks on “Violent”, or telling blood-soaked hood tales in late-90s Nas fashion on “I Found Keisha”, the dude impresses me every step of the way. This is the first great Hip-Hop release I’ve heard in 2018 thus far. HIGHLY RECOMMENDED

No Cross No Crown – Corrosion of Conformity

 Take notes, Black Label Society. This is some sludgy, southern-tinged Hard Rock that manages to be dirty, mean, and melodic all at the same time. Reunited with classic-era frontman Pepper Keenan, the band rip through groovy Sabbath-isms like “Luddite” and stomping rockers like “Forgive Me” with remarkable ease. And the moody title cut was also a highlight for me – it added a different flavor to this track list. While it may run a shade too long and not quite match up with early C.o.C. gems like 1994’s Deliverance, No Cross No Crown definitely does the trick. RECOMMENDED

A FEW MORE:

LIKE:

Avatar Country – Avatar

Infernal Overdrive – White Wizzard

Ephorize – CupcakKe

Collateral – Phillip Phillips

King Chop 2 – Young Chop

Life of a Dark Rose – Lil’ Skies

Common Ground – Above and Beyond

DON’T LIKE:

Wrong Creatures – Black Rebel Motorcycle Club

Sign of the Dragonhead – Leaves Eyes

Underworld – Tonight Alive

For My Fans – Fetty Wap

Defy – Of Mice & Men

Choosing Mental Illness as a Virtue – Philip H. Anselmo & the Illegals

Culture II – Migos

 

 

Machine Head’s “Catharsis”: Four Singles Deep

Guys, Machine Head are about to be polarizing again. I couldn’t be more excited.

Since the much-maligned Nu Metal detours that nearly destroyed this band’s career in the late ‘90s and early 2000s, Machine Head’s last fifteen years have been nothing but smooth sailing, both critically and commercially – 2003’s Through the Ashes of Empires was the ferocious comeback record that brought them back from the dead, 2007’s The Blackening was labeled a modern Thrash “masterpiece” by well, several pretty important people (e.g. James fucking Hetfield), and 2011’s Unto the Locust and 2014’s Bloodstone & Diamonds were also pretty much unilaterally well received. Well, the buck stops here. Enter the Bay Area titans’ ninth LP, Catharsis.

 It’s not even out yet and everyone’s already up in arms. For God’s sake, Blabbermouth reviewed the record and gave it a 5.5/10. I haven’t read the actual review (because I prefer to read, you know, WRITING…not whatever those hacks on that site try to pass off as music criticism), but on a site that gives everything a 9.5, a 5.5. is like a 0.

So far, the general public has only been made privy to four of the album’s fifteen tracks, and personally, I think the debate is just getting started. Based on what I’m hearing, I still think Catharsis has a chance to be good. I really do. Machine Head are clearly taking some risks, but that’s not inherently a bad thing. It’s too early to tell whether all of this vitriol is justified.

I’m just excited as hell to review this album – I can tell that it’s gonna create a big fissure in the group’s fanbase, and that whole process of watching everybody fight it out and figuring out what side you fall on…well, it doesn’t get any more fun than that. Look out for the full review coming soon to my YouTube channel!

In the meantime, here are my thoughts on the four pre-album singles, in the order they were released:

Beyond the Pale

Released back in mid-November, “Beyond the Pale” was the public’s first taste of Catharsis, and it was immediately greeted with a tidal wave of negativity, particularly regarding the main riff’s striking similarity to the Strapping Young Lad classic, “Love?”. Personally, the whole plagiarism thing actually didn’t phase me – what did bother me was how quickly the riff gets watered down by such incessant repetition (after all, it’s used for the verses AND the chorus). And sadly, that riff is the only memorable aspect of this otherwise underwhelming single. The pre-chorus is sluggish, the dual harmonic guitar solo could’ve been recycled from any of the band’s last four records, and lyrics like “I found my heroes/the freaks and zeroes” are a turn-off as well. Though far from a disaster, “Beyond the Pale” was not a good first look.

Catharsis

Despite feeling like the Internet is constantly looking over my shoulder and shaming me for it, I have been enjoying the fuck out of the title track. Not only is it far and away the best of these four singles, it’s an excellent Machine Head song period. With an inspired vocal performance from Robb Flynn (who seesaws between the heavy and melodic like the seasoned veteran he is), an infectious verse riff, a rousing breakdown, and a future staple for live sing-a-longs (“can you feel my Catharsis?”), this one is a home run. And to be quite frank, for all the talk about Machine Head changing their sound, “Catharsis” does very little to tamper with the band’s formula. This is classic Machine Head. Everyone who says otherwise is buggin’.

Bastards

So “Bastards”, which I recently used to make a larger point about music and politics, might be the most “different” track of Machine Head’s entire career. The divisive anti-Trump lyrics aside, the way this song begins by layering spoken-word vocals, folky acoustic guitars and finger-tapped electric guitars is undeniably unique. And to complicate things further, the tune is based around one of the poppiest chord progressions in all of music – so if it occasionally feels like a Pop song, that’s because it was written like one.

I had no idea how to feel about this little ditty for a solid week, but after about 25 fucking listens, I’ve finally decided that I like it. Sure, I could definitely do without the “no no no no” bridge, and I could do without the good guy/bad guy liberalisms, but the messages that this track ultimately sends – messages of love, inclusivity and optimism in the face of this nation’s uncertain future – are something I can get behind 100 percent. And, let’s be honest, when Flynn sings “don’t let the bastards grind ya down”, I can’t help smile as I think of Lemmy from Motorhead grunting that same refrain on the band’s classic Iron Fist album.

Kaleidoscope

Is the cringe-inducing “get your middle fingers in the air refrain” a tough pill to swallow? Sure. Is the hand clapping that goes along with it even worse? Definitely. But in between the cracks, “Kaleidoscope” does manage to squeeze in some trademark Machine Head riffing – the rhythm guitars bring a walloping Thrash/Groove Metal mixture and even throw in some of their signature “alarm clock” harmonics in the bridge for good measure. I also enjoy how Flynn and Co. are not afraid to add a little grandeur to the song in the form of some tastefully placed key and string parts. Though it’s not without its low points, overall “Kaleidoscope” comes out on top for me.

Porter Robinson’s “Eon Break” Single (As Virtual Self)

Time to talk some EDM.

Last Wednesday, one of my favorite Dance songs of the year dropped out of nowhere and it was from some douchebag I had never heard of. His chosen moniker was Virtual Self, and I could only assume he was another anonymous Swedish teenager about to take the music world by storm.

Just kidding. Virtual Self is Porter Robinson. And I knew that going in. Why else do you think I would’ve immediately stumbled upon such a thing?

My first question: why does Porter Robinson need an alter ego? While I really don’t understand, the answer may lie in the drastic stylistic transformation that he undergoes in “Eon Break”. This track embraces a subgenre known as Happy Hardcore, a jubilant, Major-key spin on Hard Techno and Gabber. If you need a quick introduction, this is a great place to start. Or, as it has been explained to me by my friends who really know EDM: “when you think Happy Hardcore, think Dance Dance Revolution”.

While I don’t know jack shit about this style of music, I DO know that I love this fucking song. Its minute-long build is effortless in execution, and the drop is absolutely rapturous. The towering synth melody is accompanied by a background of fluttering cymbals and propelled by a simple quarter-note kick-snare combo that gives it more of a stomp than a pulse.

I’m also fascinated by the final 30 seconds of this song, because those drum rhythms are – no joke – exactly like the drums you’d hear in a Thrash Metal song. It almost made me chuckle at first. First there are those grinding triplets, and then at around 3:14 they erupt into machine gun-like bursts to close out the song. But you know what? I’ll save the EDM-Metal parallels conversation for another time. ‘Cause it’s a big thing I’ve been working on.

Oh, and what a stunning visual that accompanies this single! When you watch the video, be sure to pause the video at around 13 seconds and read all the sentences (questions on the left, statements on the right) that quickly wiz by on both sides of the screen.

In short, this song is absolutely magnificent. And I can’t wait to hear what this Carolina wunderkind has in store next, Virtual Self, Real Self, Porter Robinson, or otherwise.

 

September 2017 Album Round Up!

It’s a good thing that so few people read this blog, or right now I’d be wading through an endless barrage of angry tweets, emails, texts, Snapchats, and God knows what else asking me why the fuck I’m posting a Monthly Round Up on the 17th of the next month.

The truth is, my priorities have shifted towards my YouTube channel a bit lately. Rather than finish up this post in a timely manner, I opted to use my precious windows of free time to react to Eminem’s anti-Trump BET Awards freestyle and make sure my Black Dahlia Murder review kicked as much ass as possible. Oh, and I’ve got another review dropping today. And another one by the end of the week.

Since I love to write – it’s a visceral form of self-expression that will never cease to fulfill me – I’ll always have content for this blog, but as you may have noticed this past month, things might start to get a little more sparse. I’ve just come to the conclusion that it’s better not to spread yourself too thin and really PUSH for one thing at a time. And with a nice bump in subscribers this past month, YouTube is the way to go at the moment.

But, other than a week here and there without a post, nothing else is gonna change. You’ll still get the kind of direct, filter-less, off-color music commentary that you’ve come to (begrudgingly) expect. And as you’ll see, I haven’t DARED tamper with the Monthly Round Up format that has now been the centerpiece of this blog for a year and a half. So, as per usual, let’s take a look at what this month (September 2017) had to offer:

Concrete and Gold – Foo Fighters

 Dave Grohl and the boys have once again reaffirmed their commitment to genuine, organic Rock ‘N Roll with a set of tunes that far outdoes their 2014 outing Sonic Highways. An irresistble single like “The Line” reminds us why The Foos have achieved the commercial success they have, and more ambitious moments like the Pink Floyd-esque title track and my personal favorite, “Dirty Water” give the LP more depth. Oh, and that Clavinet that appears on “La Dee Da”? AWESOME. Here is a full review. RECOMMENDED

Gemini – Macklemore

 Despite being a one-time defender of Hip-Hop’s most hateable white rapper, Gemini is a Macklemore project I can’t stand behind. His first solo outing since 2005’s The Language of My World, this scattered, inconsistent tracklist never really finds its pace. It’s too busy borrowing from other artists (see the Chance the Rapper-biting “Corner Store” or the forced Lil’ Yachty-collab “Marmalade”) or wasting time with Soccer Mom Pop-Rap (see the Ke$ha-assisted “Good Old Days” or a piano-driven ballad like “Excavate”) to ever find a cohesive sound. Here is a full review. NOT RECOMMENDED

Tell Me You Love Me – Demi Lovato

 Though it gets bogged down by bland moments like “Only Forever”, a bit of over-singing on “You Don’t Do it For Me Anymore”, and one God awful Lil’ Wayne verse, Tell Me You Love Me is still a Pop force to be reckoned with. Between the dance floor-ready “Sexy Dirty Love”, the triumphant title track, and “Cry Baby”, a soulfully sung tale of relationship woe, I walked away from this one-time Camp Rock star’s latest LP with considerably more praise than criticism. Here is a full review. RECOMMENDED

Will to Power – Arch Enemy

 Disappointingly, one of my favorite Melodic Death Metal bands dropped the worst record of their career this time around. It’s not that it’s outright bad – most of the time the ideas on this album sound recycled, and when they don’t sound recycled, they sound plain uninspired. And the one time the band DO step outside their comfort zone – the ballad “Reason to Believe”, featuring the first appearance of clean vocals on an Arch Enemy song courtesy frontwoman Alissa White-Gluz – they ruin it with a surrounding blandness. Here is a full review. NOT RECOMMENDED

 The Aviary – Galantis

 Still riding the enormous success of the single “No Money”, Galantis have presented us with another set of simplistic EDM songs that get the job done and not a whole lot else. “Tell Me You Love Me”, with its almost childlike exuberance, along with the fraternity tailgate vibes of “Hey Alligator”, represent some higher points on the LP, whereas tracks like “Written in the Stars” and the “Hunter” suffer from a looming, unwelcome Top 40 influence that acts as a diluent and relegates The Aviary to “pick your favorite cuts and skip the rest” status. RECOMMENDED

Cryptoriana: The Seductiveness of Decay – Cradle of Filth

 This is another solid helping of theatrical, unapologetically histrionic Extreme Metal from Dani Filth and co. Since it doesn’t do much more than maintain the rock solid status quo set by its predecessors (2014’s Hammer of the Witches and 2012’s The Manticore and Other Horrors), Cryptoriana isn’t gonna leave you in shock and awe, but it’s not an LP you should skip over if you’re a Cradle fan. Whether it’s the catchy, Maiden-esque gallop in “The Seductiveness of Decay”, the haunting choir melodies in “Wester Vespertine”, or the morbidly poetic lyrics of “Achingly Beautiful”, these Brits have come through with another commendable crowd-pleaser. RECOMMENDED

Cold Dark Place EP – Mastodon

 As I explained in a Mastodon discography ranking that I recently filmed for my YouTube buddy Christian McGuire (video out soon!), Mastodon’s brand new EP is the most interesting music the band have made since 2009’s Prog opus Crack the Skye. The fucking steel guitar on “North Side Star” and the title track especially? OH MY GOD! This post-Metal-y little adventure is radically different from anything the band has done and I am so fucking down for a full album in this style! HIGHLY RECOMMENDED

Wonderful Wonderful – The Killers

 This fifth record from the Killers (has it really only been five??? They’ve been around forever!) with its New Wave-inspired synths and ‘80s Pop rhythms, could’ve been a fitting Fast Times at Ridgemont High soundtrack if it came out in 1982 – at least a good portion of it. The driving “Run for Cover” feels like a mix of Huey Lewis and Bryan Adams, while the bouncy dance vibes of “The Man”.That’s not to say that Wonderful Wonderful is entirely retro – Psych-Pop contemporaries like Tame Impala shine through on the title cut, while “Out of My Mind” is certainly in line with the recent out put of The 1975. Definitely worth checking out, Killers enthusiast or not. RECOMMENDED

 The Stories We Tell Ourselves – Nothing More

While I had initially written this band off as “Butt Rock” (and therefore unwelcome in my listening rotation), this fifth record of theirs got enough ridiculous Twitter hype that I decided to check it out. And you know what? I’m glad I did. As I discussed HERE, the track “The Great Divorce”, with its irresistible guitar line in the chorus and anthemic vocals from frontman Jonny Hawkins, is one of my favorite Rock songs of the year. And I dug some of the slightly industrial moments too, like “Ripping Me Apart”, which has little pieces of Godflesh lurking inside its shiny mainstream packaging. RECOMMENDED

 Prophets of Rage – Prophets of Rage

 So here’s what an undercooked Rage Against the Machine album would sound like with two aging rappers (in this case, Public Enemy’s Chuck D and Cypress Hill’s B-Real) ranting about justice over it. My biggest beef with Prophets of Rage’s music is that there’s no discussion of concrete issues – aside from one weed legalization song (“Legalize Me”, what a shocker) it’s all these vague allusions to poverty and the 1 percent and homelessness but no constructive dissection of how the current political climate affects these problems or how we can work to enact change. Politicians are liars? No shit, Sherlock. I get it. But if you’re gonna make a politically-charged album, why is it that I learned nothing and there was no compelling call to action anywhere to be found? NOT RECOMMENDED

A FEW MORE:

LIKE:

Thrice Woven – Wolves in the Throne Room

Sleep Well Beast – The National

All the Light Above It Too – Jack Johnson

Awake – Illenium

Clairvoyant – The Contortionist

Laila’s Wisdom – Rapsody

DON’T LIKE:

Life Changes – Thomas Rhett

Deep Calleth Upon Deep – Satyricon

Double Duchess – Fergie

Younger Now – Miley Cyrus

Ludacris’ “Vices” Single

He may have been the shiznit back in Elementary School when the clean version of Word of Mouf was permanently nested in my Walkman, but Ludacris and I have not had a relationship for many years now. The last Ludacris album I enjoyed was in 2008. The last Ludacris movie I enjoyed – besides none of them – was in 2011 (he had a minor role in No Strings Attached, a movie I sort of half-liked, mostly because it centered on Natalie Portman having sex).

And wackest of all was his selfish, hypocritical reaction to the Paul Walker jokes that were made at the Roast of Justin Bieber, especially considering there were several jokes made about 9/11 which, unlike one person driving too fast one time, was a national tragedy in which we lost nearly 3,000 of our citizens in the worst domestic attack the nation has ever seen. So we can joke about that but not Paul Walker. Sure. But, I digress.

This doesn’t mean I don’t still give the guy a chance. Underrated not only for his lyricism but also his unparalleled ability to jump on a Pop song and actually ADD to it (see: “Glamorous”, “Yeah!”, “Baby”, etc.), I’m always rooting for Luda. I thought he KILLED his verse on Future’s “Same Damn Time” remix, which might’ve been over five years ago now, but that’s the best reference I’ve got at the moment.

I was as surprised as I was intrigued when, pretty much out of the blue, Luda dropped his new single “Vices” last Wednesday. Its title gave it the initial appearance of a party track. I had to see if Christopher Bridges has any more gas left in the tank.

Right off the bat, I wasn’t too impressed with Luda’s opening rhyme scheme – that whole “bottles/shots/models/thots” thing? Yeah, that didn’t do it for me. Nor did the rest of his bars, where he talks about “skanks” and “dank” and dressing in expensive clothes. Super exciting.

I still think he has one of the illest flows, though. Whenever I hear Ludacris spitting, it always sounds like he is in complete control of the beat, almost as if he’s hovering above it, pulling the strings and dictating its pace. At any moment he could let out a flurry of double time rhymes. On “Vices” his quick tongue is notably restrained, but an air of anticipation still lurks around the corner of every bar, as if the dude could go off at any time. Even with the vapid subject matter at hand here, Luda still out-raps a large majority of Hip-Hop’s current generation, by a pretty wide margin.

The instrumental here is a solid, appropriately minimalistic choice – a steady stream of hazy eighth notes from a synth sit atop a laid back drum groove, with only an extra six-note keyboard loop to signal the song’s chorus. Luda’s message here, ultimately, is that we all have our indulgences, and not only is it perfectly ok to partake in them if we so choose, but it’s nobody’s place to pass judgment. At the end of the song, he urges listeners to “worry ‘bout your own fuckin’ life” and “stay the fuck up outta mine”. And you know what? Since drinking, smoking weed, and fucking girls isn’t all that interesting (especially when you’re forty years old), I have no issue complying.

August 25th Singles: Taylor Swift, Miguel, Demi Lovato & more!

So, Summer ‘17 is essentially over. Whether you spent it at camp, or down in Argentina building houses or some type of “do-gooder” shit, or you just continued to slave away at your 9-5 with one less layer of clothing on like I did, I hope these last few months advanced your life forward in some type of positive way. But most importantly, of course, let’s hope Rick Ross’s entire posse got rich like he firmly suggested would be the case. ‘Cause ultimately, that’s what matters in life. Rick Ross’s posse.

Anyway, the end of summer means that the back-to-school music rush is upon us! These next couple months are gonna be as wonderful a time as ever to be a fan of stuff that involves notes, rhythms, melodies, singing, yelling, or anything that remotely resembles music.

With countless release dates stacking up, we began to see a lot of high-profile singles popping up this past week. So many, in fact, that I felt compelled to write about what I heard. For this article, I specifically went after all the A-list stuff. Sure, I could’ve talked about the new Arch Enemy song or whatever, but isn’t it more fun to talk about things that make people gobs of money? Like a Taylor Swift album cycle launch? No? Well, too bad.

Here’s a quick synopsis of a bunch of big-time singles that came out on or around this past Friday:

Sky Walker (feat. Travis Scott) – Miguel

BANGER ALERT! Wow. I’m not sure what floors me the most, how flawlessly Miguel crafted this more Hip-Hop influenced, Weeknd-ish ode to self-indulgence and bravado, or how well Travis Scott’s voice gels with his. Scott is like Miguel’s drug-soaked, auto-tuned sidekick – the two have so much chemistry, you’d think they’ve already done a whole album together (and hey, after hearing this, I’d probably want that to happen!) And this track, while smooth and swaggering as all hell, also has a bit of a goofy, tongue-in-cheek, wink-wink-nudge-nudge kind of thing going on, ‘cause after all, the ridiculous line “Luke Skywalkin’ on these haters!” is part of the refrain.

I don’t know when the next Miguel album is dropping, but whenever that is, I want an album full of THIS!

You Can’t Control It – Jack Johnson

 Listening to this infinitely soothing new single from Jack Johnson – a master of folky singer-songwriter pleasantries – I can practically feel my inner tension loosening. It’s almost like a massage (well, minus the part where you roll over and offer 60 bucks for a happy ending).

The third single from his forthcoming seventh album All the Light Above It Too, “You Can’t Control It” is not only pure calming pleasure sonically – featuring sweet, gentle guitar melodies married with Johnson’s reverb-drenched croon – but there’s something so freeing about hearing that phrase, “You Can’t Control It”. ‘Cause when you walk around feeling like everything is up to you, and everything is your responsibility, you apply this immense pressure to yourself that can be suffocating at times (for instance, I didn’t sleep a wink a couple nights ago because, well, I did just that). Perhaps this song is Johnson’s best cure for what he refers to here as “the war within your head; one that you could never win.”

Look What You Made Me Do – Taylor Swift

As the Internet has already redundantly established, T. Swift’s first solo track in nearly three years is fucking terrible. Why have I – and thousands, if not millions of other irritated eardrums – come to this conclusion? Well, there’s a lot of reasons. I will outline three of them:

Reason 1: the unbearable corniness of the “Kanye West diss” that’s at the heart of it. “I’ve got a list of names and yours is in red, underlined”……oooo, no you didn’t Taylor! Or how about my personal favorite line, when Taylor defiantly chirps: “I got harder in the nick of time”? Hey, it’s always good to know that T. Swift can come through with some clutch erections down the stretch.

Reason 2: the obnoxious hook. Which, by the way, I was so busy being angry at it that I didn’t even pick up on the fact that it was an interpolation of Right Said Fred’s “I’m Too Sexy”. Shame on me. But it still sucks. And it’s about as likeable as Meaghan Trainor’s “Me Too”. Yeah, I went there.

Reason 3: worst of all, this song is attempting to be some sort of Dance-Pop. Meaning it might start getting played in bars….meaning after paying some bullshit cover charge, I might have to turn around and walk out on all of my friends if it comes on. Either that, or I’ll have to stay home for the next 15 months until the coast is clear.

But who knows, maybe the album will be decent. It’s still early.

You Already Know (feat. Nicki Minaj) – Fergie

After over four years of rumors and eleven total years of elapsed time since her solo debut, Fergie Ferg is finally dropping her sophomore LP Double Dutchess on September 22nd. One of its singles (“L.A. Love”) is three years old. Two more of them we already heard a while ago too. Can’t say I’ve got much going on in the anticipation department when it comes to this record.

Stylistically, Fergie’s been trying a lot of shit. I already gave my mixed two cents on her tropical house adventures on “Life Goes On”, and I think we can all agree that “M.I.L.F. $” (which will also appear on Double Dutchess) is a tasteless Hip-Pop attempt. As for “You Already Know”? It’s a little better, but not by much. It’s obviously crafted for high-energy dancefloor type situations, but Fergie’s obnoxious and completely overcooked rapping steps all over the beat. Nicki Minaj brings a bit of genuine lyrical finesse to offset it, but ever since the record-shattering horror that was Fergie’s “All of the Lights” appearance, I just can’t take her seriously when she tries to rap.

 Tell Me You Love Me – Demi Lovato

Demi Lovato is yet another A-lister ramping up for a late-September album release. “Tell Me You Love Me” is our second taste of her forthcoming sixth record of the same name, and I gotta say, this is one of my favorite Pop songs of the Summer.

I hate using the term “empowering” – in my mind, it often equates to corny Liberalspeak – but this track does have such an uplifting sound that it’s tough to squeeze in any other adjective. The instrumental during the chorus absolutely KNOCKS – those triumphant horns and the booming snare and bass are a hell of a combo. And lyrically, if you ask me, there’s something so sweet and so romantic about admitting to a (SMALL) degree of co-dependence – strong relationships are, after all, partially built on a mutual feeling of importance in each other’s lives, and that’s something Lovato captures beautifully here. Hopefully this one doesn’t get beaten to death by radio.

Pizza – Martin Garrix

Bookended by a sweeping cinematic build-up and comedown, the latest single from this Dutch EDM Wunderkind is a sunny, rapturous burst of energy. What I first saw as cheesy and cookie-cutter has evolved into a fun, simplistic escape and a slight guilty pleasure for me. Truth be told, this song breaks exactly ZERO ground as a stereotypical House track (don’t let the intro and outro distract you into thinking otherwise), but it continues to grow on me with repeated listens. Gonna be a great tune to soundtrack some end-of-summer hangouts.

July 2017 Album Round Up!

And so concludes (well, almost three weeks ago now) my least productive month of the year. I’m not gonna lie, I spent most of July either working myself to death at things that, you know, actually make money, or spending my “free time” blowing off all my hobbies to zone out and do nothing. Though I’m frustrated with how the past few weeks have gone – seriously, I haven’t shot a YouTube video in over a month… I’m practically gonna forget how to do it – the sheer act of writing this post is making me excited to jump back in with both feet.

As far as the albums below, don’t expect any sort of brilliant insight or compelling analysis from me; I was very passive with nearly everything I did this month, and unfortunately that included how I consumed music. But that doesn’t mean I had a shortage of opinions! I’m actually pleasantly surprised at the strength of July’s release calendar this year, especially since I remember writing something a year ago about how July is usually a dull, relatively uneventful time of year for new music. But I’m happy to say that in 2017 I was wrong as a motherfucker! Here’s to all the great new songs that have seeped their way into my life, and most of all, here’s to getting back on track!

Flower Boy – Tyler, The Creator

With his first major label studio album Flower Boy, Tyler, The Creator stripped away some of the over-the-top absurdity (both sonically and lyrically) of his past works and gave us both his most accessible, mature, laser-focused project to date. It’s full of the music that I always felt like Tyler had in him but was never gonna make – it’s a wonderfully shocking surprise. On this entirely self-produced affair, Tyler’s instrumentals are impressively diverse – “Who Dat Boy” is a tense banger with a mix meant for bumping in the whip, “See You Again” has a slight cinematic touch, whereas the closing cut “Enjoy Right Now, Today” has an almost cartoonish-ly upbeat, hopeful, and optimistic vibe to it. Oh, and I also gotta mention the nostalgia-laced November as a standout track! I can’t recommend Flower Boy enough as an honest, gimmick-free look into one of Hip-Hop’s most unique minds. HIGHLY RECOMMENDED

The Autobiography – Vic Mensa

With what is quite possibly my favorite Hip-Hop release of the entire Summer, the 2014 XXL Freshman unleashed a phenomenal debut album that more than justifies all of the hype surrounding him (if last year’s EP There’s A Lot Going On didn’t already). Not only do I love the way he SOUNDS on a beat, but the guy can rap his fucking ass off, as showcased on the syllable-stacking first verse in “Killa Cam”, or the particularly impressive “Heaven on Earth”, which finds Mensa spitting three different intricate verses from three different perspectives. As promised by the title, these tracks are deeply introspective, personal, and often narrative driven – the Weezer-sampling “Homewrecker” describes a turbulent relationship, and “Wings” features a self-hating tantrum in the vein of Kendrick Lamar’s “u”. But Mensa still has time to sneak in an absolute banger with “Rollin’ Like a Stoner”, which is what would happen if Kid Cudi’s “Day ‘n Nite” got in a time capsule and merged with Travi$ Scott. To top it all off, cuts like “The Fire Next Time” prove that Mensa knows his way around a hook too. I am beyond impressed – I can’t wait to see what this guy does next. HIGHLY RECOMMENDED

Everything Now – Arcade Fire

With Arcade Fire’s hugely anticipated follow-up to 2013’s Reflektor (an album that, four years later, critics are still furiously jerking off to), I’m having some difficulty wholeheartedly embracing their latest change of direction. Featuring a very prominent dance music vibe, Everything Now often feels like I’m listening to Indie Rock meets Disco meets Lonerism-era Tame Impala. And though there are definitely some high points, such as the funky basslines in “Good God Damn” and the uber melodic, almost syrupy “Put Your Money on Me”, this record’s sound has left me less than enthusiastic. I’ll give it the benefit of the doubt for now and suggest that you give it a whirl (after all, I may still just be overly attached to 2011’s The Suburbs), but I’m gonna need a lot of convincing to avoid labeling Everything Now as Arcade Fire’s weakest record to date. RECOMMENDED

Ritual – In This Moment

I have followed In This Moment for eight years now, but I’ve only been able to tolerate their music for about four of those years. The band’s increasing descent towards cookie cutter Alt-Metal – which reached an apex with 2014’s vapid Black Widow – is something I just CANNOT get into. The trend continues on Ritual, another LP that finds me equally annoyed with its hyper-processed sound and Maria Brink’s histrionic vocals. Worst of all, the cover of “In the Air Tonight” is in extremely poor taste – the band drowns the Genesis classic in overly showy, bombastic melodrama. But I have to praise the sleazy Party Metal vibes of “Black Wedding”, which features a killer appearance from Rob Halford and a wonderfully creepy piano line. I enjoy the acoustic guitar playing on “Twin Flames”, as well as the Pop-Metal number “Joan of Arc”, which is heavily reminiscent of late-90s Marilyn Manson. Ritual is not a total disaster by any means, but I won’t be returning to it. NOT RECOMMENDED

Issa Album – 21 Savage

When it comes to 21 Savage and I, it’s really as simple as this: I do NOT understand the appeal. At all. The guy’s M.O. seems to be to create the ultimate hood soundtrack, but in my experience, the Hip-Hop albums that best capture the essence of the underworld and bring it to life (e.g. Young Jeezy’s debut album) are much more forcefully self-assured in bravado, vivid in stories, and lively in energy. To me, 21 Savage’s music is not “lit” at all – in fact, it puts the lights OUT and makes me doze off. Couple that with some truly atrocious rhyming (on “Dead People” he says he’s “single like a pringle”) and you have Issa Album. An album it may be, but I can’t say issa good album. NOT RECOMMENDED

Lust for Life – Lana Del Rey

 Man, I could listen to Lana Del Rey’s silky, reverb-soaked vocals all day long. Her fifth full-length LP is some of the best music to just zone out to, whether it’s the ethereal eroticism of the title cut (which, whoever thought of that Weeknd collab is a brilliant, brilliant human being), the entrancing ballad “Cherry”, or the Hip-Hop infused “Summer Bummer”, the latter which is driven home by Playboi Carti and A$AP Rocky’s hazy guest rhymes. A truly one-of-a-kind talent, Lana has now delivered four excellent albums in a row, shoring up one of the strongest discographies of this decade. Much like Lorde, she’s an A-list mainstream sensation whose music, refreshingly, offers anything but the status quo. HIGHLY RECOMMENDED

Howling, For the Nightmare Shall Consume – Integrity

After only 30 years and nine full-length studio albums, I’ve finally hopped on board for Integrity’s tenth record. Approaching Howling, For the Nightmare Shall Consume, I was under the impression that Integrity was a Hardcore Punk band, but after ripping through this track list a few times, I felt like “Hardcore” is a label that so reduces the wide scope with which this band – and this LP – approaches heavy music. Alongside more straight-ahead muscular mosh music (“Burning Beneath the Devil’s Cross”) is Thrash (“Hymn for the Children of the Black Flame”), a bit of Black Metal (“Blood Sermon”), and even some New Wave of British Heavy Metal influences (“Die With Your Boots On”). This album took me on a wild, exciting ride through many corners of the Metal genre, and has me anxious to dive into Integrity’s back catalogue. HIGHLY RECOMMENDED

The Forest Seasons – Wintersun

Why the fuck is everyone being so tough on this album? Who cares if Wintersun – one of Metal’s least prolific and most enigmatic bands to come out of the 21st century – wants to release three albums in the span of 13 years?? How about we just judge this as the great Metal record that it is, instead of holding it to some lofty expectations that result from that whole “well, if it took this long, it’s gotta be….” type of thinking. The Forest Seasons may not reach the heights of Wintersun’s masterful self-titled debut, but it’s an exciting combination of Symphonic Metal, Melodic Death Metal, and some touches of Black Metal and Power Metal here and there. It’s like Insomnium plus Dimmu Borgir plus Children of Bodom and a touch of Nightwish. In a month where I barely listened to any Metal, Wintersun gave me my fix with this incredibly engaging, dynamic record. HIGHLY RECOMMENDED

Low Blows – Meg Mac

Though up-and-coming Australian singer/songwriter Meg Mac definitely has a few excellent tunes under her belt (namely the swaggering, self-assured “Never Be”, which I couldn’t stop listening to while I was interning at her label a couple summers ago), I’ve found her debut album to be pretty vanilla. Which, that doesn’t necessarily carry a negative connotation – Mac has an undeniable ear for melody, vocal harmony, and simple but effective arrangements – but I’ve been struggling to come up with reasons to replay this LP. I suppose it’s not helped by a couple of bland throwaways (e.g. “Shiny Bright”) that bog down its second half. If you’re into the singer/songwriter genre, Low Blows is definitely an album worth your attention, but I don’t see myself coming back to it much. NOT RECOMMENDED

A FEW MORE:

LIKE:

Jungle Rules – French Montana

Dead Reflection – Silverstein

Tha Truth, Pt. 3 – Trae Tha Truth

Hug of Thunder – Broken Social Scene

Sacred Hearts Club – Foster the People

DON’T LIKE:

Steve Aoki Presents Kolony – Steve Aoki

Anticult – Decapitated

Defying Gravity – Mr. Big

Crook County – Twista

 

Trivium’s “The Sin and the Sentence” Single

Nearly two years since 2015’s risky, deliberately minimal Silence in the Snow, the most hateable Metal band on the planet is back with LP number eight, and – I can only assume – another polarizing sound.

Silence in the Snow was perhaps Trivium’s sharpest, ballsiest left turn since 2006’s wildly controversial The Crusade, the infamous record that saw vocalist Matt Heafy abandon the heaven-and-hell scream/sing approach that was prevalent at the time for an opportunity to do his best James Hetfield impersonation. Silence of the Snow found the band once again scrapping their signature screamed vocals from the playbook and intentionally writing simpler, more melodic songs as a way to emulate ‘70s and ‘80s greats like Rainbow and Iron Maiden. The experiment had mixed results, but I admired the effort. I always prefer bands try something new.

Fast-forward to August 2017, and we have “The Sin and the Sentence”, the first single from the Floridians’ as-of-yet untitled eighth album. Being the rebellious, mischievous bunch that they are, they decided to put it out on a Tuesday instead of, you know, Friday, the widely designated day of the week to launch new music. So punk rock.

As with pretty much every Trivium release, you can’t compare this new sound to any one record of theirs. While the “The Sin and the Sentence” maintains the emphasis on Heafy’s (increasingly powerful) clean vocals, the music is significantly heavier this time around. New drummer Alex Bent brings an urgent intensity to the track, complete with rapid-fire bursts of double bass and even a few traditional blast beats tossed in for good measure. His relentless athletics in the song’s epic twin-guitar intro give it a bit of an Arch Enemy flavor.

The catchy, groovy chorus finds Heafy in a duet with himself, as he overlaps clean and harsh vocals in a snappy call-and-response. To be honest, this memorable section helps distract from some of the track’s shortcomings; for starters, from a guitar standpoint, many of the musical ideas presented here are blatantly derivative. The pedal tone riff at 3:05 is not only boring but CERTAINLY recycled, as is the similarly generic riff at 5:25 (also, during the latter, why does he feel the need to randomly yell “FUCK!” for no reason?)

The harmonized neo-classical lead riff at 3:37 is also suspect, and adds to my growing suspicion based on recent albums that the band are simply OUT of new solo ideas. Lastly, I gotta take issue with that dumb three-chord palm-muted progression that kicks off the first verse; it makes me feel like I’m listening to a Pop-Punk band.

All things considered, however, “The Sin and the Sentence” is a step in the right direction for the band. I don’t want to speak too soon, but on my first handful of listens, I’d consider this the best Trivium song since 2011. It brings melody and aggression in equal doses, it’s a bit more indulgent and technical, and it re-introduces some exciting elements to the Trivium sound, most notably Alex Bent’s blast beats and some good ol’ Metalcore riffing (if a bit unoriginal). Looking forward to hearing more from Trivium in the coming months!

Stone Sour’s “Hydrograd”: Four Singles Deep

As dictated by the cycle of Corey Taylor – a.k.a. the Great Big Mouth – a new Stone Sour album is upon us.

Step 1: Put out a Slipknot album

Step 2: Write a book

Step 3: Get in a Childish Pissing Match with Another Rockstar Ego in the Press

Step 4: Put out a Stone Sour Album

Step 5: Lather, Rinse, Repeat

Since Mr. Taylor has just recently completed step 3, it’s only fitting that Stone Sour’s sixth album Hydrograd (I’m counting House of Gold & Bones as two separate albums) is dropping this Friday.

And it’s really Stone Sour 2.0 now; Taylor’s Slipknot cohort Jim Root is out, new shredder Christian Martucci is in (he first appeared on Stone Sour’s recent covers EPs Meanwhile in Burbank and Straight Outta Burbank), and apparently the band are reinventing themselves this time around.

Taylor has been hyping this up endlessly (as he does with every single fucking note of music he releases) as a “Rock ‘n’ roll” album of sorts. He has described it in the press as being “tight”, “fast”, “rocking”, “melodic”, “crushing”, and a myriad of other useless adjectives (that last one is especially suspect). But in all seriousness, I was really glad to hear about the band’s change of pace on this LP, ‘cause I think another go ‘round of their Hard Rock/Alt-Metal hybrid would’ve been overkill.

With three days to go, we’re currently four singles deep into Hydrograd’s fifteen-song tracklist. Let’s see how it stacks up so far!

Taipei Person/Allah Tea

Get it??? “Type A Personality”??? Pretty clever eh??? All kidding aside, this is an awesome song. It fuses a chunky Metallica heaviness with a bit of fun ‘80s sleaze. On one hand, the breakdown right after the two-minute mark is pure Ride the Lightning-era ‘Tallica, while carefree lyrics like “running out of road but I’m still doing 75” feel like something off of Appetite for Destruction. When Corey Taylor said in the press that Hydrograd “has everything you want in a rock album”, I can only assume he was talking about “Taipei Person/Allah Tea”.

Song #3

Contrary to what its hipster title might imply, “Song #3” is Stone Sour at their poppiest and most radio friendly. This tune essentially consists of one giant chorus (equipped with layers of guitars and vocal harmonies) and a series of placeholders, whether it’s the super bland palm-muted verses, the anti-climastic guitar solo, or…well, I’ve pretty much covered the whole song. It’s a bit sappy for my taste – it reminds me of a less dynamic “Say You’ll Haunt Me” (Corey Taylor’s love letter to his wife on Stone Sour’s third LP Audio Secrecy). And it leans way too hard on its chorus to carry over four minutes of music.

Fabuless

Yet another cheeky song title. Since its debut back in April, I have spent as much time enjoying this track as I have being confused by it. ‘Cause it sounds like Stone Sour aren’t sure what kind of band they wanna be as they rapidly shift gears from chugging Metal riffs to a Hard Rock chorus to a Groove Metal/Nu Metalish post-chorus (“it’s all downhill from here!”). But that’s not necessarily a bad thing. I enjoy all of this song’s individual components, and Taylor’s seething anti-celebrity lyrics remind me of his hilarious, angry tirades as an author. I should mention Christian Martucci’s ripping guitar solo is a high point as well. This is a very strong single!

Mercy

Without question the weakest link of the bunch, “Mercy” is as unmemorable as they come. Part of me wonders if my distaste for this song is just a product of the band’s uninspired live rendition – and maybe the official recording will do it justice – but that’s pretty doubtful. I especially can’t get over that dud of a lyric in the chorus: “going nowhere, now I’m here”. It just rubs me wrong. That, and in the live video when cameraman fails to pan over to Christian Martucci during his solo? A major pet peeve of mine. We’ll see how this one fares in the context of the full record though.

Hydrograd is out Friday, June 30th on Roadrunner Records. You can catch a full, in-depth review on my YouTube channel the following week!

 

 

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