I pop up with full command of the mic – call me kernel.
I’ve been lax in updating this. As such, I’ve decided to put all of my music-related writing into one post. It ain’t much, but it’s all here.
Here’s Holy Fuck’s Deleter from January 14. I liked it. You’ll get more mileage outta this if you got into them after their debut LP.
Here’s Pearl Jam’s Gigaton from March 22. It’s their most experimental record. It’s solid, but not classic. Worth checking out if you’re a PJ fan.
Here’s Jonathan Something’s Cannibal House Rules from July 29. Excellent record, and rather diverse. Something is quite funny.
Here’s Cult Casual by Heavy Salad from September 23. Fun space-y and acid-y rock record.
Finally, Deftones’ remix album Black Stallion from December 8. It’s White Pony re-jiggered by various artists. I dug it. If you’ve ever wondered how Deftones would sound as purely an electronic act, give it a try.
Over at Best Fit, I wrote about Deleter, the new Holy Fuck record.
It’s a solid effort. You’ll enjoy it more if you like how they’ve progressed since their first album.
Back when I was a contributor, Spectrum Culture had its writers rank every VU song. (It’s only across three pages, so click through to read.)
I wrote blurbs for:
#67 “I’m Sticking with You”
#66 “Little Sister”
#58 “The Murder Mystery”
#56 “Eulogy to Lenny Bruce”
#52 “That’s the Story of My Life”
#48 “The Black Angel’s Death Song”
#45 “One of These Days (2014 Mix)”
#42 “Hey Mr. Rain (Version 2)”
#38 “Cool It Down”
#37 “Run Run Run”
#32 “Lady Godiva’s Operation”
I rap around stairs, call me M.C. Escher.
Over at Best Fit, I wrote about the splendid new record from Cherry Glazerr. It might be their best one yet.
Oh, and BTW: This is one of those situations where I’m cited on Metacritic. (Like Oh Em Gee!)
This is peak hipster nostalgia. Releasing the silly cover of “Africa” on vinyl was bad enough. But now we have this. Just look at the art: They’re wearing cringeworthy ‘80s fashion, like oh-em-gee! Is hipster irony chic a thing? It is now. As for the music, it’s almost entirely a frustrating failure. The band needlessly smears power pop riffage over the originals. Meanwhile, Cuomo’s wooden delivery suggests Teal exists purely because the Toto cover went viral; this is social obligation, not enjoyment. The lone exception is Bell’s vocal on “Paranoid,” the only part of this that’s fun.