Bottomless Pit ALBUM REVIEW

Bottomless Pit Score

Death Grips is not a cool band. Whatever vogue abstruseness they cultivated after their first mixtape quickly vanished as they played dom to their fans and their press. Soured attitudes – and a fanbase that consumes their material as fervently as they speculate details regarding the band – has led to them occupying a somewhat impenetrable position in popular music. The antics and cryptic nature pushed away speculative listeners before the obtuse, genre-neutralizing music ever could. But following their break up note, the coda album Jenny Death, and the 2015 tour, the musical landscape that they hastily rushed into had changed. The modish way to deliver an album was the same that Death Grips had used to eviscerate their reputation: keep the listener in the dark with details until the release date. The Life of Pablo. A Moon Shaped Pool. The Colour in Anything. Lemonade and Beyoncé’s self-titled album. The particulars for each record came at a moment by moment basis until they appeared, accompanied by a radio show introduction, a short film, or a Madison Square Garden live stream. These two arcs, the one where popular music is consumed and how Death Grips interact with popular music seem to be intersecting. What Death Grips did to maintain authority offers no authority and offers no mystic enticement with the consumer when the consumer is accustomed to this. So what do they do? Unveil the most tame album cycle to date: an announcement, an EP, an artwork and track-list reveal, snippets and then a release. To summarize: Death Grips’ modus operandi is to not be cool.  Continue reading “Bottomless Pit ALBUM REVIEW”


Goodness Score

There’s a universal understanding in communication that hooks are imperative. Without a solid introduction, few, if any, will stick around to hear what you’ve got to say. Don’t expect people to pay attention to your speech, or watch your film, or listen to your album, if you don’t open your work with enticement. Above all, the beginning is an indication of what’s to follow. So what was to be expected when Goodness opened to a cold reading of a poem about naturalistic symbolism, spoken so nasally and uncomfortably delicate that it recalls reading in front of a group of peers you aren’t yet familiar with, struggling to find your real voice against the nerves masking it?  Continue reading “Goodness ALBUM REVIEW”

Wolf Parade (EP 4) EP REVIEW

Wolf Parade EP 4 Score

It’s been over a decade since Apologies to the Queen Mary, Wolf Parade’s defining debut record, made waves at the height of the indie rock movement, encapsulating a time that would foreseeably never be recreated. In the time following, the landscape of music has changed, and with it too, have Wolf Parade. After the releases of At Mount Zoomer and Expo 86, both lying somewhat mediocrely in the aftermath of the debut, the band quietly deflated to the paralleled fall of the subgenre, dying, so to speak, with the birth of the 2010’s. But now, six years later, Wolf Parade have decreed a hasty rebirth with their fourth self-titled EP, a premature and unjustified declaration of returned cohesion and rejuvenated creativity.  Continue reading “Wolf Parade (EP 4) EP REVIEW”

Trans Day of Revenge EP REVIEW

Trans Day of Revenge Score

Where does our energy come from? Better hypothetical (and review introduction): Where does our energy come from in times of conflict? The routinely announced massacres and loss of innocence has hemorrhaged our ability to genuinely feel shock for the shocking. The flag residing at half mast has become a ceremony of expectations. And while America has been safer and less violent in recent years, the perceived safety and send of injustice is amplified. The voiceless haven’t found there voice, rather they’ve found the appropriate soap box from which to be heard. So when I feel bled of any feeling of loss, there still exists a mode of delivery where I can feel something, anything when I’m surround by the media’s parade of tragedy. Enter G.L.O.S.S.; the hardcore punk/d-beat outfit from Olympia, Washington. They emerge now, following up their astutely titled first EP Demo with Trans Day of Revenge, an heir to the long line of anarcho punk releases with an appropriate political backdrop. Continue reading “Trans Day of Revenge EP REVIEW”


Collect Score

Collect calls are dying, a bygone of the era of fax machines and telephone booths; something your parents dealt with that faded against the digital age; the social and communication equivalent of balancing your checkbook. Somewhere out there are people with a romanticized view of all of these outdated technologies, clinging to a simpler world that, to them, moves too fast, leaving them far, far behind. Somewhere out there, too, are people that have moved beyond what they once clung to, overcompensating with a flawed understanding of the now. In a way, 18+ paradoxically represent both of these schools of thought regarding the then and the nowContinue reading “Collect ALBUM REVIEW”