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.
I crushed three boxes of Cinnamon Toast Crunch today – call me cereal killer.
Really, really enjoyed Laura Jane Grace’s solo debut record. I wrote about it for Best Fit.
I scribbled a few words about The Primals’ debut album for Best Fit.
It’s good, not great. If you like Mudhoney and the Toadies, you’ll like this.
My last column for Spectrum Culture was a retrospective on The Offspring’s Americana, a record that was a big part of my middle school years.
Some of it hasn’t aged well, but I still think “The Kids Aren’t Alright” is a great single.
The final review I wrote for Spectrum Culture: Chromeo’s superb new album Head Over Heels.
It’s as good as White Women, but without the lofty ambition. Just a buncha great songs.
In which the most divisive band in metal makes a record that will be divisive among its defenders. Their least metal offering, OCHL largely augments their blackgaze aesthetic with classic rock and piano balladering. Kerry McCoy wisely opts for sunset-purple watercoloring and arena-ready solos to augment George Clarke’s most impressionistic set of lyrics to date (“I have wondered about the language of flowers/ And you, elaborate mosaic, greeting me”). As a result, it’s (unsurprisingly) expertly paced and Deafheaven’s most emotional release. Is it happy? Rock? Black metal? None of that matters when an album is this fucking beautiful.