Daily Media Consumption - Music, Uncategorized

Daily Media Consumption – 4/15/2018

Daily Metal/Rock Album:

Borgne – [infinity symobol]

Borgne, a Swedish industrial black metal outfit, have just released an album with letters I can’t pronounce; I’m going to assume it’s infinity? Whatever. Anyway, the industrial edge to Borgne is unique in that isn’t only limited to sampling and overall playing style: Borgne actually occasionally incorporates a nearly sounding EDM style of electronic noise and synth work (particularly early on in their first track) that is all over the place, enriching the already chaotic nature of their music by placing us in the equivalent of a robot hell, I suppose. The black metal side plays the dominant role in the album, but it is certainly carried by it’s industrial influences well enough that it plays off the strengths of both sides. The black metal brutality is both raw and brutal, and somehow feels right in place with the clear and haunting electronic noise in the background.

While symphonic elements are present, Borgne strayed more to the side of unapologetic heaviness and brutality a la late Celtic Frost, incorporating enough progressions and musical evolution within each song to keep things from getting too monotonous. A pleasant surprise appears in the third track  “Un temps perit”, with a young female angelic chorus, transitioned to this badass organ segment. I appreciate ANY TIME an album can switch up it’s shtick, and explore different sounds/tempos/instruments to bring a memorable quality. The band actually sounds pretty somber and kind of beautiful on the aforementioned track at one point, where the vocals kind of take a break and this sorrowful lonely guitar peers through the electronic noise fog. After that, “Stone” reminds you, as I expected, that is still a black metal album, and is as brutal as you might expect. I also enjoy the transition to “I Tear Apart My Blackened Wings”, which definitely stands out, with what almost seems like a huge production style shift, giving the song an almost thrashy pummeling sound. I love the drumming on this track, and the guitar onslaught that proceeds. Later in the album a fantastic acoustic ballad, giving me strange flashbacks of like a folky Ulver, which I is something I would have to love, and helps to continue spread out the brutality of this album. The very last track is also a slow, ballad-like performance with haunting electronic voices and static just engulfing the mix.

Plenty of surprises on here without comprising at all their brutality, Borgne are easily top quality for their lane, and deserve a listening to if you are at all into this kind of music.


Excellent (For an Industrial Black Metal band there are few things one could expect their band to do better than what we see on this album. While the creativity and brilliance is there, it’s difficult to see this appealing outside of it’s niche nature, which it likely has no intentions to even try to do.)






Daily Pop/Other Genre Album

Despite his age, John Prine seems to be able to continue and provide us with some personal, classic, and heartwarming songs. This album elicits similar feelings to what I experienced when I first listened Nicole Atkins’ album “Goodnight Rhonda Lee”: as if I was in some sort of time capsule that transported me back to the 70s era of folky/country soft rock where the music is un-apologetically personal, with clever and straightforward song concepts accompanied with very appropriate and effective instrumental pieces and lyrics. This is yet another time-capsule album that somehow modernizes a sound that I’ve so often missed. The production and overall on this album is subtle, yet just detailed enough, letting Prine’s voice shine and the instruments really pierce your heart and mind while you listen.

Every song that Prine puts on here explores a different idea, often carries a different tone or message, keeping each track on this album a very fresh and interesting experience, and in a concise amount of time. “When I Get To Heaven” is a rather sad, despite the upbeat and silly nature of the music, thinking about his feelings about death; and how inspiring it is to hear him take it in such a positive way. He’s going to smoke and drink ginger ale! One “The Lonesome Friends Of Science” I enjoyed the concept of picking fun of the fact that Prine is an old time man living in this new world where science appears counter-productive to simplistic happiness. We get to hear some dark, foreboding and powerful Johnny Cash style acoustic work with “Caravan Of Fools”.

Look, I could sit here and type all day about each individual song and how excellently written, and effectively and simply this album is executed; but I think the album completely speaks for itself. Prine is in his 70s, and after seeing a recent live performance of his, he is simply blowing away far younger equivalent artists who try to make music in the same realm as Prine – but just don’t know how to tie the soul, blues, and country together into easily identifiable music that artists like Prine can.

Classic – (I will be listening to this album for a long time after this. If you enjoy that classic 70s and 60s country/folky/western music that many indie acts try their best to recpature in this day in age – or if you like any music at all, for that matter – you will enjoy Prine’s performances. This isn’t experimental new age nonsense, this is heartfelt and classic songwriting.)








Daily Rap/Hip-hop

E-40 and B-Legit are old-school hip-hop legends, and have both been in the game since the late 80s, and E-40 in particular (B-Legit does too, but E-40 is truly one of a kind) has been easily one of the most distinguishable voices and personalities in hip-hop for over 3 decades. Connected and Respected is what you would expect from a couple of old-heads getting their hands on some of the new-school production tools – bringing flavor from both the new-school while blending it with old-school attitude/rhymes/mentality. E-40 brings the high energy and erratic behavior with lyrics that range from every possible angle you could imagine: from being ignorant, to wise, and to everything in-between. B-Legit acts as the straightforward no bullshit partner in crime, and the duo, as we all come to expect, compliment each other quite well.

The very first 3 tracks are straightforward bangers, and classic examples of how E-40 and B-Legit can be when they are at their best. I will say “Guilty By Affiliation” has an interesting concept and lyrical contents, but something about the beat just doesn’t work for me – the song should be great, but something about the beat just seems a bit too randomly clunky. The second “Carpal Tunnel” comes on you know this is a classic E-40 track, ONLY the hook is just… bad, unfortunately, because I love the rest of this song and the beat. A problem with this project is that it does last a bit too long, and the instrumentals at a point do start to get a bit too similar, which makes certain songs hard to differentiate from others. The middle of the album definitely falls a bit flat in places, but the proceeding tracks “Whooped”, which starts with a refreshing sample, followed by those heavy synth hits that litter this album, and “Barbershop” or energetic funky “So High” (easily one of my favorite songs on the album, and such a stand-out track from this, easily my favorite) kinda help brings things back up. I don’t what the hell they were thinking on “Tap In” which is basically un-listenable to me. The choruses/hooks are easily the weakest part of this project – which is frustrating, considering how great these guys are on the mic.

Those who are already in love with E-40 and B-Legit are going to blindly love this, as you would think, but I think even people who aren’t familiar with the group might find themselves some pretty accessible and fun tracks to introduce themselves to these guys. The first 3 tracks on this album made me want to call this a classic, but they just let this album run too long, and have to many similar ideas/similar sounding instrumentals this time around. This doesn’t make the album necessarily bad, not by a long-shot, but does bring it down from the Excellent grade I desperately wanted to give it. Still recommend it to anyone who’s a hip-hop fan, because E-40’s diligence deserves everyone’s expect at this point, if nothing else.



Good – (This should have been an excellent album, and goddamn did it smell like it for the first 3 songs, and still smells like at different points in this album. Probably 6 or 7 songs could have been booted, and this would be – no contest – an excellent album)




Daily Media Consumption - Music

Daily Media Consumption – 4/14/2018


Every day, I plan on reviewing three albums: One Metal/Rock, One Pop(catch-all category for anything not more clearly Metal/Rock or Hip-Hop/Rap), One Hip Hop/Rap. This will be referred to as “Daily Media Consumption”. Some albums may be new releases, others will be older. My genre selection is done simply for ease of organization, is not representative of definite or more specific genre titles, nor much of my actual feelings about genres in general.

In addition, I will be writing a weekly “Discography Digestion”, where I go through a band/artists whole discography from start to finish. Another daily post will be a film review, with the overall goal of seeing a new film every day, and a NEW film every week.

Ranking System (For all music and movies, in all article types):

Classic: Not only is this is album in the top quality category (with as objective as possible arguments as one can make when it comes to music), but it is something that has either moved me or has a uniquely timeless nature. VERY FEW albums ever would likely achieve this ranking, much less a new release (though I could think of a few that I know are classics).

Excellent: This album has done, within reason, almost everything that it could do – originality, competent and creative production, thematically developed with clear and and complete utilization of the personal evolution of the artist.

Good: Some flaws are present, but a strong genuine and successful attempt has been made, and the album’s strengths are played well enough to overcome it’s weaknesses.

Average: You are going to pick a few tracks of this project, and the rest is either okay or worse. The artist has clear things in which they either need to improve, or needs to understand about themselves that is limiting them. 

Troubled: There is a semblance of promise or potential, but severe issues are holding you back, making enjoying your project extremely difficult.

Trash: Whatever qualities there are, they are extremely limited, and this album was basically almost an objective mistake.

Daily Metal Album:
Imperial Crypt – “Fate Of The All-Father” – 2016

I’ve known about Imperial Crypt for some time now. Exactly how/when I found them, I can’t say exactly – but I recall finding their music on some website years ago, listened to the handful of demos they had available , and really admired their melodic edge that they merged with a punishing rawness that screamed classic black metal. The genuine amateur nature of the recording made it clear these were some brutal unknown metal geniuses, and to this day I still very enjoy these early recordings.

At the time I had found those early demos, their aesthetic was very much akin to others in the traditional black metal scene. Somewhere down the line a very prominent Nordic/viking influence developed, which we see play a very prominent role on this album. It’s hardly that surprising, considering vikings and black metal have always been essentially next door neighbors, musically. However, along with this, at some point, came the decision to really amp up production quality – something that is completely understandable considering not everyone in metal WANTING to sound like the next Bathory or Venom; and from the more melodic nature of the music observed from their demos, I have a feeling Imperial Crypt were, potentially, not quite aiming for that to begin with, and only, perhaps, toying with that concept.

This album gives you everything you would probably want or expect from a melodic black/viking metal album. The band weaves destructive blast beats to melodic choirs and black metal vocals, with the overall production and mixing making the album feel larger than life, and like it’s attempting to swallow you. Spoken word portions are present, and I do particularly enjoy their inclusion in “Twilight and the Sacred Grove”, accompanied with a rather beautiful piano and drum section that just kind of abruptly ends. “Arminius: Scourge Of Rome” and “Gathered To The Blood Court” are pretty fantastic together, with an excellent build-up and payoff. I would say “Treachery In Winter” starts and ends impressively, with more beautiful piano work in the beginning, and ending with an assault of blast beats and tremolo guitars. That being said, “A Shrine To Moloch” and “Glory Of Teutoburg” are both songs I heard in early demo form years before this album’s release, and while both songs are undeniably vastly improved from their more primordial states, I feel a particular charm is lost from these songs: Part of this is due to the overall upgrade in quality of recording, another part is the way the guitars are kind of bullied out of the mix by an overpowering bass and bass drum. Both songs are still good, don’t get me wrong, but a little less memorable because of the aforementioned changes. The original “A Shrine To Moloch” still being their best song, easily.

I haven’t seen a new project from them since, nor am aware of another one in production, but I would enjoy seeing another effort from this group – maybe give them another chance to see what to do with their production, and help their incredible guitar work to shine the way I know it really could.




Average  (Solid black/viking metal – just needs to work on mix to allow guitars to be more in the forefront, not lost in the musical atmosphere. Nothing too revolutionary or completely unique to be good with the raw production gone, but definitely has potential)




Daily Pop Album:

Confidence Man – “Confident Music For Confident People” 2018

With the name “Confidence Man”, it was clear I was venturing into obnoxious territory when I started listening to this album (something I’m usually more than happy to do) – and overall, it was a pretty pleasant experience. This completely self-aware (at least I hope so) and satirical duo are somewhere between Aqua and Chumbawumba, with very fun and engaging silly songs on this debut album that will either irritate you, or make you want to dance.  This album, on most songs, feels and sounds like what Liam Kyle Sullivan would do if he had an album deal 11 years ago. Take that how you will.

This is some very catchy British or Australian based house music (I try not to research artists too much before Daily Consumption, just so I can best judge the music itself). I love hearing these older school sounding synths a la Eddy Grant, and the songs on the first half of the album are constantly giving you something new or interesting to hear; tossing random noises and synths at you at all times, and rarely letting tracks last too long.  The last half, up until “Fascination” are more instrumental heavy, and therefore have a little less character and originality. “Fascination” is a breath of fresh air though, closing the album, with some pretty ‘fun’ male sung lyrics.

When we get to “Catch My Breath” the music gets just a bit too repetitive for me, even if I get the idea behind it, and do completely enjoy the instrumental; but I think trying to excuse that fact just by saying it’s a dance track doesn’t work, because the whole album is only dance tracks. I think “Bubblegum” is pretty uninteresting too, however, giving off an old school 80’s house vibe but not really being able to back it up on the instrumental side, in my opinion. The beat sounds barren or unfinished/rushed, at best. I think the female vocals on the whole project can be a bit dull once the shtick has been done a few songs in, and not very dynamic, as well as being matched with lyrics about a pretty awful and annoying human being who talk-sings about how terrible a person she is – to my amusement, of course. “Sail Boat Vacation” is guilty of including standard FL studio synths and effects that I distinguished immediately from only a few days worth of messing in FL studio in my youth… so that made it pretty awkward.

The tone of the album only really somewhat changes on the start of “Out The Window”, which allows the track to then evolve into a really groovy bass-heavy track that actually features SINGING, too. The first few tracks are all fun dance songs, no exceptions, all (hopefully) mocking the surface level nonsense of pop music and many of it’s listeners. Songs about relationships and partying are in full force here.

If you are up for an obnoxious hipster dance party (and don’t mind , this album is going to be perfect for you.



Good (Barely a good – the album’s positive songs are fun enough for me that the limitations that are here are minimized JUST ENOUGH to be Good. Excellent house/dance music at least instrumentally, potentially pretty niche though, somewhat creative and interesting, and the disinterested vocal shtick is fine, but can limit what you can achieve musically: the overall theme of the album could have been more expanded, as I do really enjoy the tone and gimmick of it. )





Daily Rap/Hip-Hop Album:

Cardi B “Invasion Of Privacy” 2018

This is the long awaited Cardi B debut album, who honestly, at this point, really needs no introduction. People who don’t even know or like rap music will know, and appreciate, Cardi’s music – which felt like out of nowhere when I first heard about her last year. I am actually quite thankful for her existence, in this era of mumble/auto-tune nonense, as she crafted for us a rather solid hip-hop album that combines a dash of the aforementioned popular influences, while still dropping decent bars in her unapologetic and aggressive cadence.  There has been talk of ghostwriting, and my answer to that is that this particular piece of writing isn’t about trying to debate cardi b’s own writing or freestyle rapping ability, but simply evaluating this single musical project that is under her name; making ghostwriting somewhat irrelevant for the experience of listening to the album, at least for this article.

There is “Drip”, which is an absolute banger, even if the chorus is absolutely ‘meh’ to me, and annoying. Takeoff, in particular completely owns and murders the track, making everyone else’s verses almost look like phoned-in contributions. I didn’t much care for SZA (surprisingly) on “I Do”, though Cardi provides some solid bars in her unique, heavy, and blunt personality. Next, we get “Ring”, which is a great song, solid change of pace, and Kehlani kills it too. While the lyrical contents are kinda boring on “I Like It”, the Hispanic instrumental samples, overall theme, and the feature on the track, make a very enjoyable shout out and anthem to a part of her heritage. Cardi’s features may frequently outshine Cardi on the track, but I don’t think that’s necessarily a problem: she proves several times that she can carry herself on a track if she needs to, and I approve of her making interesting and fun music, including the moments where steps back to give her guests their chance to shine. Good music is good music.

The first song I was actually annoyed by was with YG’s annoying and repetitive contribution on “She Bad”, luckily Cardi shows she can save the track and it’s rather bland (even if it kinda hits hard) instrumental. I was not feeling “Be Careful” at all, I don’t think her singing goes over very well here, and the instrumental’s minimal nature kind of backfires and makes the track overall pretty boring. Another banger helps recover the album, however, in the form of “Bartier Bardi”, and actually managed to make a song with 21 Savage that didn’t completely bore me, and luckily his contribution is highly limited. Cardi’s tone feels a bit off on “Best Life”, where, based on the great instrumental, I’m expecting her to be laid back and chilling, but instead she is STILL all up in your face… which is either purposefully genius, or a mistake, and I haven’t quite decided. Chance sounded fine, but he didn’t really say or do anything too mind-blowing. On “Bickenhead” Cardi B encourages you to “Pop that” even at church,  which, among other lines in that song and others, gave me more than a few chuckles. “Get Up 10” is a passionate, piano-laced track that evolves into an absolute banger; probably my favorite track from the album.



Good ( This album was pretty surprising, and I love that it’s concise and somewhat diverse. Will be very popular and successful, mostly enjoyable features, solid bars though it is overall still limited by Cardi’s emotion being limited to pretty nearly exclusively aggressive, which I like but does keep an aspect of the music static; a few duds that could been left of the album or replaced could have made this an excellent album)





Exploring Discographies – Prince – For You (1978)

In “Exploring Discographies” we (albeit, slowly) go through the discographies of various artists and analyze the musical evolution of their music and identity throughout the years. The goal is to really understand the story of each artist, and give my opinion on the nature and potential appeal of the music.

1978 Prince – For You

An often overlooked masterpiece in funk, soul, and even early Rock Crossover sound that Prince would really take in full stride by the next 2 albums. Every time I come back to “For You”, I find myself excited to re-hear pretty much every song on the album. The songs are incredibly concise, quirky, emotional, and I usually can’t help but want to dance (and I typically hate dancing) to almost all of them. Prince’s vocals alone gives the music it’s distinct sound (a particularly distinct falsetto dominates, but is not the ONLY style prince uses) – all the while the musical production feels incredibly detailed, being pleasantly soaking in a variety of both soft and warm synths, funk and normal guitar, and bass. Prince, supposedly, performed most – if not all – the instrumentation on this album, and it only makes the experience that much more interesting and satisfying.

This album works incredibly well as a “Day 1” in the musical journey of Prince, as it very telling of the musical influences and overall style that he would explore later. The funk sound is quite overwhelming on this album (as it is, to some degree, in all his music) – and as someone who is really infatuated with that sound, this album manages to be both catchy, and incredibly unique. Prince’s little touches in the production and instrumentation really keep his music distinguishable from other funk acts during, before, and after the time of this album. There is detail, subtlety, and the few instances where guitar solos pop up, like in “My Love Is Forever” and “For You”, keep you yearning for more.

One aspect of Prince’s early music (and most music at that time, anyway, due to the nature of vinyl) is that his projects are short – and every song is very much unique, and memorable. This allows the listener to really get absorbed in the atmosphere that prince creates, and not feel tired or bored quickly; rather, I almost always want to listen through a second or third time – especially to my favorites.

Prince gives you plenty of dancey, almost disco-y tracks like the latter half of “Soft and Wet”, “Just As Long As We Are Together”, and  “My Love Is Forever”. He brings you soft balads, like “Crazy You”, “
So Blue” and “Baby” (all of which are actually amazing, to my surprise) and then at the very end of the album, he then goes Guitar God and drops “I’m Yours”, which is in my own personal top 10 favorite songs. Prince seems to realize that he’s onto something here – combining the guitar ferocity of almost hair-metal rock music, yet still making an overall funk song. Prince will later explore the reversal of this, making rock music that has a funk influence; something we will see in full force as soon as the very next album after this.

This album isn’t for everyone – while it was both ahead of it’s time in a few little ways, it is a Funky-slightly disco, album from 1978, so most kids nowadays (unless they are cool, and liked Gambino’s newest project, and are into the neo-soul movement) are going to potentially find the music rather lacking in a punch… Though I would personally say this album holds up incredibly well, when you give it a serious chance and compare it to other music today. There is plenty of depth yet fullness to he music, that makes this album perfect for plenty of occasions and settings. I can keep coming back and rediscovering something new about the music I didn’t notice before. New listeners may have trouble adjusting to the older style sounds from that period, but give it a few rotations – and you might just start to understand what I’m talking about.


Everything Everything – A Fever Dream

In June of 2015 we were treated to one of the more interesting pop albums of that year – Everything Everything’s Get to Heaven. The album featured an assortment of catchy, yet uniquely experimental/quirky up-beat songs, occasionally equipped with a undertone of melancholy or fear (“No Reptiles”). While the album was mostly an energetic trip into rein-visioned 80’s new wave meets fast-tempo rhyming, there was always a slight atmosphere of danger and madness that made the band feel unpredictable – particularly on the first listen. I can recall being repeatedly surprised by each new track, and being rather engrossed with every song’s unique experience. It’s rare for an entire album to keep my attention and receive such repeated rotation as Get to Heaven did.

The band’s latest album Fever Dream doesn’t stray too far from the musical tone of Get to Heaven, though it seems it attempts to be more subdued and subtle then the latter, and more instrumentally progressive and varied. I can recall listening to songs on Get to Heaven, like “No Reptiles” where the stripped down/basic instrumentation was contrasted with an assault of lyrical bullets being fired by lead vocalist Jonathan Higgs, and being completely encapsulated by the experience. Unfortunately I can’t say I felt that way at all on Fever Dream, nor was I particularly enthusiastic about any of the more straight-forward dance/pop songs (not that there were too many of them this time around).

One thing Fever Dream does do is feature song structure that seems to meander and get lost like on  “Good Shot Good Soldier”, for example. The song starts out okay, with a catchy and stripped down beat, but quickly becomes rather boring and stagnant – as Jonathan constantly repeats his lines, which was interesting and refreshing to hear the first time around on Get to Heaven, which by this point in the album had already begun to feel tired. “Put Me Together” attempted to be a ballad of some sort, but the unrelenting high-hats, which often compliment Everything Everything’s music, in this case distracts from whatever atmosphere/emotion that this song was trying to convey; resulting in a boring mess of a song that, at least, ends a tad bit stronger than it begins.

At times Everything Everything stray into more straightforward rock territory (reminiscent of a more electronic Arctic Monkeys ala their last album), like on “Run the Numbers” and “White Whale”, but it unfortunately ends up being nothing memorable. These songs are decent, and instrumentally solid, but they don’t stick around in memory (“White Whale” slightly more so than “Run the Numbers” nor does anything (besides the focus on guitar) to warrant much recognition.

The slightly more subdued approach of Fever Dream does not pay off much, as the album instrumentation, while impressive and enjoyable, is not particularly memorable or immediately striking upon listening. I can still return to Get to Heaven and immediately be entranced in more than half of the album, jumping in at any point – this is not, however, the case for Fever Dream, as every song on here feels like an attempt to reach musical and emotional depth, without being particularly too interesting while doing it.  The best part of the title track, “Fever Dream”, ends up sounding like a catchy “Plastic Beach” era Gorillaz song meets Cut Copy.  Unfortunately, what I liked about Everything Everything has nothing to do with either of those bands, so it’s immensely unfortunate.

I thought the  first half of the song song “Ivory Tower” could have been taken off of Get to Heaven, as it just sounds like a bizarre amalgamation of a few songs from the previous album, which may just be their fans’ fancy, but it’s mostly disappointing to me. The payoff at the end of the track makes up for it though, as I did find myself repeat listening to the solo and enjoying it.

Overall, this is far from a bad album, but considering how impressive Get to Heaven was, it’s difficult to give compliments to this album – knowing how much better in nearly every way the previous album was. I give considerable credit to the band for attempting to expand and vary their sound on this album, going far more progressive and incorporating some impressive guitar solos (“Ivory Tower”), but I am also considerable dissapointed in Fever Dream being essentially a bland and forgettable version of Get to Heaven,with half of the energy.




Please, Trend Lightly… On You-tube 7/6/2017

Kesha – Praying

Now, I’m not going to even try to dip my toes in the mess of a pool that is the Kesha-and-manager controversy, though you can’t help but feel this song is an active product/reflection of all the attitudes and views imposed upon her. I will say this: anyone can be a horrible person, artist, CEO, ANYONE. Never believe just what’s convenient.

That aside, lets look at the song: a piano driven ballad, accompanied by a combination of bright yet dark, moody yet bizarrely uplifting, and clearly a demonstration of frustration mangled with confrontation… The most personal song written, that I’ve heard, by the artist.

While Kesha’s opening monologue can either be taken as hear-wrenching, or eye-rolling (depending on your stance), most of the song is simplistic and straight-forward as far as a ballad goes. It’s biggest flaw is becoming instrumentally un-powerful during the last half… Which is a shame, because she is attempting to put as much emotion and effort into singing, which is definitely endearing.

God, do I start hating the song once the bass drum and chorus comes in, though. All the originality feels like it leaves it feeling kinda boring.

Can’t complain about someone trying to acquire artistic depth – so, kudos to you, Kesha – the artist formally known as Ke$ha.


JAY-Z – The Story of O.J.

The theme and artistic vision of the accompanying video is impeccable, haunting, and powerful… Jay-Z’s performance is solid, has a message, and manages to sound great here. Beat is great, too (as you can imagine).

It’s been a long time since I’ve genuinely enjoyed a Jay-Z track, so this was incredibly refreshing.

Look, there’s plenty to be said about this track that others could possibly articulate in greater detail – so explore this video if you haven’t yet. Pretty refreshing to hear an inspired, deep, and honest song, so kudos to Jay-Z.


Look, Macklemore was never an artist I really listened to in my spare time – despite acknowledging the technical ability, lyrical depth and creativity that is indicative of his music thus far.

Macklemore returns with a new track/music video, where he takes his Grandma out for a day, and speaks on a variety of topics. The instrumental is that same galloping hip-hop beat we heard all over the place on his last project, which is admittedly getting annoying at this point, but his heart and lyrical ability are both on point here.

Chorus sucks. Wherever is singing is annoying, and makes the hook unbearable. Ruins it, honestly.









Please, Trend Lightly… On Youtube – 6/27/2017

Lecrae – I’ll Find You

Don’t worry my friend, we’re here to help you: you might have almost listened to an artistic expression that could be described as actually creative or innovative today -BUT DON’T WORRY! YOU ARE SAVED!

Luckily Lecrae and Tori Kelly are here to softly toss those ever so loved and NEVER tired 808-drum snares and hi-hats, accompanied by a lightly auto-tuned and generic sounding hook (though I don’t think Tori is all that bad a singer, she just doesn’t stand out at all, and tries her best to sing in the most trendy of styles). This song also happens to be so bland that it dulls your brain activity, allowing you to forget about all those useless thoughts in your head like: am I just listening to some guy who sounds like Dizzy Wright mixed with Drake? Oh, wait, this is a different artist? But… why?

I’m sure people will love it because it’s like so cool man, and like, speaks to me, and has all the things every other song has too. Nom nom nom more chips-esqe music please, my arteries still work.


Calvin Harris – Feels (Official Video) ft. Pharrell Williams, Katy Perry, Big Sean

What is… happening…? Honestly, that was my main thought throughout the entire song.

So we have what SHOULD be a pretty refreshing, fun, and catchy funk beat that just sounds kinda off… unpolished, boring, and generic. How did this obnoxious over-stocked team of artists screw this up?

Look, I’m all about the funk revival train (though, according to intensely ‘academic’ articles as of late, the train has been in a bit of a state of havoc as liberal white people started discovering the bruno mars isn’t actually “black” – causing all kinds of fun cultural appropriation arguments that makes everyone uncomfortable, unsure, and likely aggravated) and while I hated Bruno until Uptown and 24k Magic brought back 80’s and 70’s funk influenced hip-hop back into popular circulation, SOMETHING went horribly wrong with this song.

First of all, I almost ALWAYS love Pharrell – the man has a wonderful falsetto, look, and personality that has been successful for over two decades. However, this song manages to make HIM sound just BAD. It sounds like his voice is unnecessarily auto-tuned (so does everyone’s, actually). Now, I’m not saying it’s terrible, but just extremely underwhelming considering how fresh and clean he normally sounds on almost every beat he’s thrown on.

Big Sean is still not good. He sounds like he’s too cool to care about doing his job well, but only because he’s convinced himself that he’s actually Drake.

Katy Perry… What is-what are… “FEEELSHhh”… Sounds so untalented and uninterested, here. Katy Perry is either dialing it in, or thinks she’s being seductive? I personally like to believe they are all just as bored performing this song as I am listening to it.

Thanks guys. Bruno Bars was doing just fine bringing an actual musical genre back to mainstream, and now you guys are ruining it already. (It’s not really THAT bad, but if you look at it closely… it’s pretty damn hollow and boring in comparison to other funk revivals).


Nick Jonas – Remember I Told You ft. Anne-Marie, Mike Posner

New Theme: Everyone just sounds like goddamn Drake

It’s like Nick Jonas was trying to make a Justin Timberlake song, but doesn’t have the same raw singing talent (at least not on this track, anyway), so instead he tried to make a Drake song, but doesn’t have the raw singing talent or personality, and finally resulted in a Drakerlake song that sounds like 20 or 30 different songs in this past week that I heard for about a few seconds on the radio before changing the station to the polka station to hear REAL music…

The light funk influence in the background of the instrumental at parts are… welcome, and the production overall is decent, but feels very jumpy and the song doesn’t feel like it wants to stay around long. It’s basic, somewhat effective, and is only annoying if you are a sane human being.

Also, why is Mike Posner rapping here? He’s usually singing… role swapping, eh? Well, he sounds alright over the beat, though he’s not saying anything important (but was anyone listening for anything important?), so kudos to Mike Posner for his wonderful 25 second contribution.

The song is okay, Nick Jonas is okay, Anne-Marie isn’t even on the song long enough to verify being okay, and Mike Posner is still not auto-tuned [NOT VERIFIED – MAY BE ACTUALLY AUTO-TUNED]. You’ll like it if you like the light dancey pop-music that everyone is making.





Trend Lightly On Youtube – 6/26/2017

  1. Future – PIE ft. Chris Brown

As the 81,000 likes on the music video clearly signifies, many people will see this song as yet another “classic”; Classic meaning it will be played virtually endlessly for the next month on the radio.

I’m convinced Future is literally just a robot, and that Chris Brown is the rap equivalent to Donald Trump, at least when it comes to sustaining a wide following and acceptance despite clear issues with morality. However, considering this song is about a side-chick(s) and how hot she is, I’m sure morality is the last thing on anyone’s mind that is listening, or was making, this song.

As usual – beat is good, song is boring, brown is talented but an asshole, and future is a robot.


2. LANY – Good Girls

Relationships continue to be the busiest of the muses in the music scene – nothing new, nothing surprising, and nothing necessarily wrong with that either.

While I’ve never heard of LANY before, this half young attractive-version of Steven Seagal/half thinner version bartender from Shameless, manages to compose a relatively mediocre light pop-dance track, with a rather inviting instrumental, and a decent vocal presentation.

LANY does look like he’s taking his “moves” in the music video straight from a Madonna video – or any other female pop-star circa 1980’s – and plays up his “sensitive buff sexy-man with long hair and piercings” image like only the early 90’s could do… but he’s doing it in 2017. Nostalgic in a bizarre way, visually at least.

Give it a listen, but don’t bother with the video unless you want to fan ‘squee’ at a young Steven Seagal.

3. The Chainsmokers – “Young”

Hey, are you young? Do you like to do stupid and irresponsible shit, that you know not to do, and think it’s fun? Do you also listen to music that is 100% a product of whats currently popular, even it meshes about as well as gummi bears and brussel sprouts do? Then you already know the Chainsmokers, and you already like this song, and you already know that life is too just tough and boring for you to listen to all the stuff that literally everyone who is older than 23 tells you about constantly.

I don’t like this song. It’s not horrible, at least has a half-assed concept ripped from a few 90’s pop-punk songs, and is fine tuned to the ears of 14 year olds everywhere.