Listens to The Gorillaz "Cracker Island"

The Gorillaz put out a new record last Friday, "Cracker Island". I am a fan and was very excited to hear some new music from them. I have listened to the album from start to finish two full times already and started a third today. Usually when a new album comes out from a band I enjoy I tend to listen to what I consider the hits after one full listen.

The good thing about "Cracker Island" is all the tracks are really, really good. I have not found a song that I want to skip or feel I can just breeze through. I am a Damon Albarn fan as well, and I especially like the work he does with the Gorillaz. This record feels like it is a mix of what made them great when they started in 2001 and what has help them sustain that all the way through to today. From their self titled album, which was all I played when I went to college, to "Demon Days" which showed this band exploring new genres, to "Plastic Beach", which was recorded completely on an iPad to this new one, it has all come together to form something close to a perfect dance pop record.

Like other Gorillaz’s ablum’s, this is not short on big time cameos. Thundercat plays the bass on the opening track and adds some vocals. Thundercat is awesome and anytime he is on a track from an artist I like I get very stoked. Stevie Nicks is on the second track, "Oil". She sounds as great as ever and adds some real rock star vibes. An artist I have never heard of, Adeleye Omotayo, appears on "Silent Running" and I instantly became a fan. Tame Impala and Bootie Brown add a great layer of alternative rock and hip hop on "New Gold". It is currently my favorite track on the album. Bad Bunny, one of the most streamed artists ever, shows up on "Tormenta" and it is the first time I have heard his music and I am dig it. I will be checking out more. The record closes with a feature from Beck, and it is amazing to hear him and Albarn trade vocals back and forth. The music that accompanies the song is really rad too.

The Gorillaz also do songs just the four of them, and there is some very good stuff here. "Tired Influencer" is nice and soft. It has a very cool and calming vibe to it. "Baby Queen" and "Tarantula" are very cool and remind me of old school Gorillaz. And "Skinny Ape" is a very fun very well played song.

Basically, the whole record works on every level. Albarn is a genius and has gotten genius people to work with him on all of their records. I was listening earlier today with my dad and told him that I was never able to get into Blur, try as I might, but I really like Albarn's solo work, but I truly love what he has done with Gorillaz. This whole concept seems odd and pretentious, but it is neither of those things. Instead, this band works. They make great music. Albarn put a gimmick to Gorillaz, maybe to sell the idea, but it has gone beyond any expectations I could have ever had. The gimmick works and does not feel gimmicky at all anymore. I see the videos of the band and I relate the cartoon characters to the music, knowing good and well that it is Albarn and one of the most talented group of musicians I have ever listened to.

"Cracker Island" is an achievement. It is one of the best Gorillaz records to date and one of the better records I have heard in some time. Now excuse me, I am going to listen to the record another time, and then a few more. I suggest you do the same. 

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to 'Who Me? An Extremely True Crime Podcast"

I subscribe to CBB World. For those that may not know, CBB World is a Patreon level of "Comedy Bang! Bang!". I have listened to "CBB" from the start, so subscribing to this was almost a no brainer for me. I have found a ton of new pods off this too. I mentioned "Hey Randy" and "Scott Hasn't Seen" on my best of lists last week. Shaun Diston is also a big part of CBB World. But there is one pod that has caught my attention of late.

This is a new pod. The host is Bobby Moniyhan, who I happen to be a big, big fan of. The podcast is called, and this is a big title, "Who Me? An Extremely True Crime Podcast". Moniyhan plays, as he puts it, The Batman. This is a Batman style podcast but it is all comedy and improvisation. This is one of my new favorite podcasts. I was listening to it earlier today on my run and I was cracking up. I find myself laughing harder with every listen. I find something new within each episode that makes me cackle. Moniyhan has this incredible control over the show and it works on every level.

To date they have had three episodes and each one has been better than the one before it. The basic story line of each episode is The Batman is trying to find who killed his parents. He will invite a guest and just start asking them questions without any warning. From there on out it is pure madness in the best way possible. Moniyhan is totally owning this show. He is so funny. His Batman voice is riotous. The way he complains about it makes it even better. The connection between him and whoever plays Alfred is just great. They are never in sync. Batman is always yelling at him. Alfred is always missing music cues. He is never ready. They have this great love hate relationship. It is perfect. In each episode the guests have been such a wonderful addition. The pilot ep featured Taran Killam as himself. This is great because of the friendship Killam and Moniyhan have. They worked together on "SNL" and they play so well off one another. The back and forth was tremendous. Killam's willingness to play and improv is second to none. I was so happy when I heard this episode because it grabbed me right away. I was in because of Moniyhan, and to hear him and Killam together hooked me even more. The second ep featured Ben Rodgers as Superman. Rodgers take on Superman was interesting and unique. He played him as a jock from NYC. His voice work sounded like Slyvester Stallone, and I am here for it. This was great because they kept bringing up the movies that the two of them have been in together. They kept making jokes. The questioning was hilarious. Moniyhan could barely get word one out without Rodgers making him crack up. I was in awe of the comedy I was listening to during that hour. I did not think it could get any better, but then we had the new episode that came out today. Nicole Parker was the guest and she was playing Gal Gadot. This was improv comedy at its best. I had to stop running a few times to catch my breath because I was laughing so hard. Parker was amazing. I do not know much about her, but damn was she cracking me up. Her take on Gadot/Wonder Woman was a thing of beauty. They brought up the "Imagine" thing she did at the start of the pandemic. This thread was wonderful. It was so funny. The jokes being made, man they were top notch. She busted out a Sarah Silverman impression and that was a home run. I loved that The Batman stopped down to tell her how great her impression was. When Parker as Wonder Woman kept asking him which question they were on, that is an old bit, but when it is done right it can beautiful. This was one of those beautiful moments.

I love this show. I find myself wanting more and more. That is a good thing. If you have the means and want, go get CBB World and listen to "Who Me?" ASAP. It is one of the best comedy podcasts in the game. 

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "Cheat Codes"

I've been in a bit of a personal music rut lately. The only new album that I have been super into is the new Kendrick Lamar. I have been going back to old classics a lot more lately. I feel like, as I get older, newer music just doesn't appeal to me. I feel like I have reached that age where new music sounds different and bad to me. There are some new artists I like, but the stuff my kids listen to, I am not a fan of. But I do have a buddy that lets me know when there is new music from artists I used to listen to all the time is coming out. One such record is "Cheat Codes" by Danger Mouse and Black Thought.

I adore Danger Mouse. Next to Rick Rubin he is the best producer in the game in my opinion. He works with so many different artists and each time a record comes out that he has produced and worked on, I love it. The work he did with Norah Jones is amazing. It is my favorite Norah Jones record. The stuff he did with The Black Keys is great. His work as one half of Gnarls Barkley is timeless. The stuff he did on his own, taking "The Black Album" and "The White Album" and making it work was a true bit of magic.

Black Thought is one of the best emcees to ever do it. The Roots are an all time hip hop group. Part of that is due to the way he rhymes and writes. I feel like Black Thought is a tad underrated which is nuts because he has been doing this at such a high level for a very long time. Black Thought is a true genius and everything he touches seems to work. So put the two of them together on a record, it is bound to work. And boy oh boy does it work.

As I said, I was late to listen, but I feel like I haven't stopped since my buddy brought it to my attention. I listened to the album three times just yesterday and was nodding along each time like it was the first listen. This album works on every level. The production is incredible, as one would expect when seeing Danger Mouse as the producer. The beats are clean, the way it is composed is pure hip hop, the songs mesh so well and the record runs like a well oiled machine. Then you put Black Thought on there as the main rapper, beautiful. His voice is so unique and pure. He sounds like an old head in the new age. He cruises through each song and takes over on some tracks. He is a genius. Then you add on the guest list and that takes this album from great to classic. This is the last record to feature MF Doom, that I know of to this point. It was so nice to hear his voice on an album nearly two years after he passed away. There is a song that features ASAP Rocky and Run the Jewels. That feels like they put this on the record specifically for me. It is my favorite song. Michael Kiwanuka, who is by no means a rapper, shows up and brings a different sound to his song. Raekwon is on a track. I love hearing from him. He seems to be everywhere lately. It also helps that I just saw Wu Tang Clan live and he was there. This record works on every level. It is near perfection. It is one of my favorite albums to come out in the last decade. I knew I was going to dig it, I just did not think it would become this big in my rotation.

While I have my doubts about the current state of music, while I am getting older and what's new is hip and I don't get it, it is nice to have something like this. I love hearing artists I have been following for more than a decade still doing their thing and doing it phenomenally. "Cheat Codes" is rad. Seek this album out for sure. It is definitely worth your time.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "The Mars Volta"

Today I decided that I was going to listen to the new Mars Volta record. I had been putting it off for a bit. I really like Mars Volta. I enjoy their music. I have seen them live before and it was a great show. But their older music used to meander a lot. They would put out an album that would be over an hour long but only have eight songs. I liked parts of each song but there would be other parts that felt superfluous. I would find myself skipping to the parts I liked and going over the stuff that felt unnecessary. So I had reservations about the new album. I also decided to not read much about it because I knew I would listen to it one day. And as I said, that day was today. It was this morning in fact, when I was bringing my kids to school.

I am here to say that this new record is my favorite. It is very, very good. The very first thing I noticed was the song length. No song goes over four minutes. The record has fourteen tracks and it clocks in forty-four minutes and some seconds. I feel like the time off really let them hone their craft. The band sounds awesome. Cedric Bixlar-Zavala's voice is as great as it has ever been. He has a very unique, very distinct sound. He may be an acquired taste, but I like the band's music and I especially like Bixlar-Zavala's voice. He sounds great. Omar Rodriguez-Lopez is back and better than ever. He is one of the greatest guitar players that has ever walked the Earth. He is wildly underrated too. No one ever talks about him when they talk about the best current guitar players. He sounds incredible on this new record too. I feel like he does a bunch of extra stuff here too. He is multi-talented. He is like Johnny Greenwood. I started listening to this band because of him. He is awesome. The rest of the band is up to the task. The bass sounds phenomenal. The drums are the perfect prog rock sound. The keys and horns are pretty dope. It all works to perfection. They compliment Bixlar-Zavala and Rodriguez-Lopez masterfully.

Back to the song length. As I stated before, they really tighten it all up on this new album, which is called "The Mars Volta". I turned it on and was waiting to see how long the first song was going to be. When it was less than three minutes I thought, oh, one short song and the rest will be six plus minutes long. But then the next song was a shade over three minutes long. Then another three minute long song. Then a two minute long song. Needless to say, the longest song on the record is four minutes and thirteen seconds long. That is perfect. I like my music to be nice and short. Four minutes long is right at that edge, and The Mars Volta ride the line to perfection here. It is such a great revelation for me as a fan. Now they just do all the great stuff without the unnecessary jamming. It is the way it should be.

If you are a fan, as I am, I definitely suggest checking out this new record. It is tremendous. It is quite an accomplishment.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to Kendrick Lamar's "Mr. Morale and the Big Steppers"

The other new record that I was looking forward to last week was the new Kendrick Lamar. It is called "Mr Morale and the Big Steppers".

I, like all his other fans, have been waiting for this record for five years. "DAMN" came out then, it was great, I believe that he won a Pulitzer for it and I listened to it on repeat for months. This record is a wonderful, ambitious, eye opening album. I literally cannot stop listening to the record. Every time I have some free time or down time, I put the album on and vibe out. The album has 18 songs on it and I wish there were more. The selfish side of me wants this album to go on forever and ever. It is so, so good. It is also deep. Kendrick Lamar has clearly been going through some things for the past five years and he lets it all out on this album. He is an open book. He reveals all. It is like the greatest hip hop therapy session ever recorded.

From start to finish this album is a hit. There is not a bad song on the record. The production value is second to none. The way the album flows from song to song is perfect. There is not a single wasted moment on it. Everything works. And it works so very well. I read a headline the other day that made me kind of scoff, but the more I listen the more the headline comes true. It simply read "Kendrick Lamar is Here to Save Hip Hop", and they are 100 percent correct. Modern hip hop, in my opinion, is not very good. There are a few good artists, but for the most part it is not great. I do not like Drake. I think he is very overrated. Kanye West needs therapy. He needs real help. Dababy is homophobic and transphobic. And not very good. Post Malone is trash. There are few exceptions, like Pusha T, but that is few and far between. What Kendrick Lamar does on "Mr Morale and the Big Steppers" gives me faith in modern hip hop.

Everyone who listens to this record has liked it. Artists galore are out here singing its praises. Not one of them has a bad thing to say about it. The same can be said for journalists and bloggers. We all love the record. It is so good. It is perfect. Kendrick crushes everything he does on here, and with him still out there doing his thing, maybe it will help energize some new up and coming young rappers. Maybe the artists that have hit will listen to this and realize that they too can make quality hip hop music. Take an artist like Baby Keem. I never listened to him before seeing he was on this record, and by checking him out now, you can hear the influence. There is hope, and Kendrick is here to push the younger artists in the right direction.

Getting back to the songs now, there is so much good on here and Kendrick is an open book. The opener, "United in Grief", hits. "Father Time" has him coming face to face with fatherhood. "We Cry Together" is what being in a toxic relationship has to be like in real life. "Purple Hearts" has a Ghostfast Killah feature, and the song rips. "Count Me Out" is Kendrick begging people to come for his crown. "Crown" is a great song about being the GOAT. "Savior" is another great song about Kendrick not being your savior, how he is just a dude. "Auntie Diaries" is a revelation. It is the best song on the record in my opinion. "Mr Morale" is perfect. And "Mother", followed by "Mirror" is the best way he could have ended this masterpiece.

This album is wonderful. It is one of the best records I have heard in quite some time. It will most likely be my number one album of 2022. But it is so much more than that. This is going to go down as a classic. Kendrick Lamar has cemented his place. He is one of the best of all time. "Mr Morale and the Big Steppers" further hammers that home. The wait was more than worth it. I love this record.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to The Black Keys "Dropout Boogie"

A few new albums I have been anticipating came out last Friday. I will be taking the next two days to write about each one. The first one I want to talk about is "Dropout Boogie" from The Black Keys. I waited an entire weekend before writing about the albums because I wanted multiple listens before writing down my thoughts. So, let's get to

"Dropout Boogie". This is a return to form. I adore this album. I have listened to it fully four times now. It is short and sweet and to the point. There are 10 songs, it is a stripped down band, the focus is solely on Carney and Auerbach's talent, it is 34 minutes long and it packs a punch. It reminds me a lot of their last record, "Delta Kream". That was a covers album, but it was just the guys with a few other, older blues musicians on the album. "Dropout Boogie" is like a rock version of that. I like The Black Keys' other stuff, their previous stuff. But I was the typical, "I like their older stuff better" fan. I enjoy "El Camino", "Brothers", "Let's Rock" and "Turn Blue". But I was way more in the bag for "Attack and Release", "Magic Potion", "The Big Come Up", and most of all, "Rubber Factory" and my all time favorite, "Thickfreakness". Those albums are raw and have the feel of a band finding a totally unique sound unto them. That is not to say those other albums don't have that feel. They do, but The Black Keys were clearly trying some other, newer stuff. And it worked. Those are good records. But they never lived up to a record like "Thickfreakness", at least not for me. Then "Delta Kream" came out a year ago. I devoured that album. I loved the direction. I loved the idea. I am drawn to old blues music with a new sound, and the boys nailed it. I wish I could have seen them perform that album live. I bet those shows ruled. And now we get another very good, older sounding record from them in "Dropout Boogie".

Everything seems right on this album. The guitar is crunchy and grimy and filled with reverb. It is like going back in time. The guitar on this album reminds me of a more refined "Rubber Factory". There is no denying Auerbach's greatness on a record like this. He is a one of a kind guitar player. He will go down as one of the greatest. Carney's drumming is just as ferocious and wild and awesome as it has ever been. I feel like he has never really strayed from the original sound they were going for back in the early 2000's. He has stayed true all the way to today. I adore that about him. I also like his manic drum playing, and that is on full display here. He gets to hammer away at his unusual kit and he does a bang up job. His fills and solos and everything work so well. I think when he and Auerbach decided to make a record like this he just smiled and was instantly on board. He feels like the type of guy that never wanted to stray from the main reason they got into this business. And add on the fact that this album comes at you fast, only slows down once and sounds like they are having a hell of a time making it, and it all works. They are cohesive. They have the same idea. They clearly wanted to make an album like this. I think they missed doing music mostly just the two of them. I am now contemplating seeing them this summer in STL. The show is outdoors and the lawn seats are cheap. And I want to see them perform these particular songs.

I like this record a lot. I highly recommend people give “Dropout Boogie” a listen.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listen's the Pusha T's "It's Almost Dry"

I have now listened to Pusha T's new record "It's Almost Dry" about three times now. I enjoy it. I do not like it as much as his last record, but with each new listen I find something new that I enjoy about it.

I'm a Pusha T fan. I have been since the first time I heard Clipse in 2001. He just has this very cool flow about him when he raps. It comes out smooth. I think that is why it has taken me multiple listens to really get into "It's Almost Dry". I wasn't ready for it when it first came out. I have been in a pretty deep soul, R&B and heavier rock groove lately. There has been tons of Black Keys, Etta James, Leon Bridges and, I know this is a little out of left field, Bo Brunham on my playlists. So I just was not ready to receive what Pusha T was putting out there. But the more I've heard the better it has become. I truly do like every song on the album. I also appreciate that it is a tight 35 minutes long.

The record starts off strong, has some great stuff in the in between and has a perfect ending, with him reuniting with the other member of Clipse. Pusha T has a way of rapping over a beat that is like no other. He is one of the few rappers I have heard who do not really wait for a beat to kick in. When he is ready he goes. And he is good. The flow is so good that it doesn't need him waiting. I love how he just gets to it. He has something to say and he refuses to wait.

The record is produced by Kanye and Pharrell. I do not like Kanye at all. He needs real therapy. He needs true help. He has some mental stuff going on that only a doctor can fix. But the dude can make a beat. He has that skill. That has not left him yet. And the fact that he doesn't rap on this record, save for a few weak bars during some hooks, makes it all the better. The beats are his, you can tell, and Pusha T makes them work. Pharrell, on the other hand, is a true musical genius. He does things with hip hop that have just further pushed the genre to a whole new world. He makes complicated beats sound simple. He knows how to get the best out of his performers. He doesn't dip his toes too far into the water. He lets the talent do what they do best. Sure there are tweaks here and there, but for the most part Pharrell just refines it all in the end. He rules. There is a version of the record on Spotify right now titled "It's Almost Dry: Kanye vs Pharrell", and it is astounding to hear the two producers on the same record and how different they are. And how much better Pharrell is at his job.

I think what I like most about the album, and I mentioned this for a second a minute ago, is how there are now real hooks on the songs. It is all Pusha T's line of thought being put on wax. He has his verses and his bars and he rolls with it. He puts it all out there. He doesn't need a hook. He doesn't need a chorus. He can just go from verse to verse and not miss a beat. Sometimes hooks help, but in this case, I do not miss it at all. It almost seems like a hook would hinder the greatness that is Pusha T.

I am a fan of this record. I have most definitely come around after three listens. I will continue to listen. Pusha T is very famous, but I think he should be talked about far more than he already is by the media. This record is a great appetizer to the new Kendrick Lamar coming out in a day. I will for sure have both albums on repeat for a bit.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "Never Heard of Them" Podcast

I’m a listener to the Patreon podcast “The Flagrant One’s”. I’ve written about that show, but they have other, newer stuff. They also have the classic stuff. “Hollywood Handbook” is still there. They have a pro version of that. I very much enjoy “Carl Calls His Cousin”. That’s a fun chat show. It’s all pretty great.

Recently they put out a new show featuring Carl’s cousin, Ashonn. That podcast, co hosted by Jacob Wysocki, is my new thing. It’s called “Never Heard Of Them”. It’s a music podcast. Some music podcasts can be very hyperbolic and pretentious. This one is not like that. Save for the fact that they “called out” The Black Keys, one of my favorite bands, in the first episode, this pod is all about keeping an open mind while discussing music. The two hosts seem to lean more punk, but they have talked about many genres of music only five episodes in to date. They’ve covered a lot. They’ve done punk, hardcore, R&B, soul, blues, electronic and so, so much more. I really enjoy the layout of the show too. The two of them talk about what they’ve been “chewing on” for the last week. This is basically a segment where they give each other a song or band that they think the other might like. This is super interesting. I’m not much of a punk guy, I have never dig deep into that world, but some of the stuff they’ve played has grabbed my ear. They’ve also played Howlin Wolf, which was so awesome for me. I’m older than the two hosts, so to hear them talk so glowingly of one of the greatest guitarists of all time, it was dope. I love that they are exploring musicians like that. When they get done with that segment they bring in a guest. They had Alana Johnston on their first episode. She rules. She’s a spitfire and super fun to listen to on a podcast. She’s got a deep knowledge of music too. They then had Carl Tart. That interview segment was hilarious. Tart was his honest self, and he let his true feelings show. It was great. Tawney Newsome was on after that. She is a musician, a great actor and has a super awesome catalog of music she likes. That was a wonderful interview. Newsome is the best. Nicole Byer was the next guest, and you all know how I feel about her. Go read my piece from last week. And this week, their most recent episode, featured Betsy Sodaro, who is a delight. She is almost as fun as Byer. Almost. When they finish the interview they then play a game. I love playing along. They did a ghostwriter game and I was on point that day. They did a great game with marching bands recently. That was hilarious. They wrote an emo, Creed esque, song this past week and that was a riot. They were spot on with their impression. I enjoy the little game section. I also like that they try to play a song from a genre the guest does not like to see if they can change their minds. They usually don’t, but it’s fun to hear the reactions.

This pod is really growing on me. Again, I like that the hosts are not being cliche and pretentious. They’re both very knowledgeable too. I’ve learned a lot about music I’ve never listened to in 5 short weeks. This is a good pod for music lovers. I suggest everyone become a patron of “The Flagrant Ones”. And if you like music and hearing different stuff, you need to check out “Never Heard Of Them”. It’s top notch.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listen's to The Black Key's Latest Song "Wild Child"

One of my favorite bands, The Black Keys, have a new album coming out in May. I am very happy to hear this as I am anytime they release new music. I have been listening to them ever since I heard them on MTV2 back when they used to play music videos and have awards shows with live bands. I have seen them live multiple times, own every piece of music they have made, owned and watched many concert DVD's and will tell anyone that will listen to me how great they are. They announced the new album and the release of the new single last week, and I have since listened to "Wild Child" about a dozen times.

I really, really enjoy the song. I like the sound, Dan Auerbach's singing and Patrick Carney's drumming. It gives me vibes of some of their older music mixed with some of their newer music. I too like their last record, "Delta Kream", which I have noticed a lot of other people did not like, but this new song has a different feel to it. It is very distorted, which is great. The vocals are clear and easy to listen to. The drumming is as hard and fast, yet clean as it has ever been. The backing band is tight and loud, but not too loud that they drown out the main components. It is a very nice mixture of all the things Carney and Auerbach have learned and honed since they became a professional band. I will keep listening to this song until more are released because I enjoy it so very much. Then I will listen even more when the record comes out in May.

With all that being said, I do have a few little quibbles. I know it is stupid, especially when I love the song as much as I do, but hey, this is the society we live in. "Wild Child" is amazing, but it does feel a little too produced. The distortion is not like it was on albums like "Rubber Factory" or "Thickfreakness". It is a clean distortion. I understand they are a better band now, but I like the gruff sound on the older records. Auerbach's singing is so good and so clean. That is a good thing, but again, I miss the older sound. What I adored so much about them when I first heard was how scraggly and rough Auerbach's voice used to be. When I first heard him sing on "The Big Come Up", I hadn't heard anyone at the time that sounded like him. He sounded like he was, at the same time from the 40's and the 70's. He had that old bluesy sound, but could throw in some old Zeppelin style rock in his voice. Again, it is a great thing that he upped his game, I just prefer the old sound.

My final little critique is that Carney sounds over produced. What makes Carney so awesome is how wild and maniacal he can get when he drums. Seeing him live is amazing because it is such a joy to behold. And, again with the older stuff, he is just hammering away at his odd drum kit. You can hear the drum sticks practically breaking when he plays. He is still hammering away on this song, it is just tighter. And that is not bad at all. I just miss the old sound. And I fully get that they have moved on, and I need to move on. It is all on me. I understand that. Also, if I have not said it enough, I really love the new song. I played it for my dad today, who is also a fan, and he had no problems with it at all. These are just some weird, stupid little things that are all on me, but in the end, I am a fan of "Wild Child", and I cannot wait to hear the rest of the new record.

Finally, I want to say thank you to The Black Keys for continuing to make awesome music, and giving the fans something new every 3-5 years. That is what makes them so great.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "This is Important" Podcast

A few months back I was looking for a different podcast to listen to when I run. I have a good team of pods that help me through long runs, but I was either caught up on them, or was getting a little bored. I always try to find one of two kinds of pods when I run, conversational or comedic. When the two categories marry, that is the cherry on top.

The podcast I decided to try was "This is Important". This podcast is hosted by the guys behind one of my all time favorite shows, "Workaholics". We got Kyle Newachek, Anders Holm, Adam Devine and Blake Henderson as the hosts. The podcast is very straight forward. It is just the four of these guys bull shitting for an hour every Tuesday. They like to say that they are only talking about, "what is truly most important", but it is just four friends having a good time on the mic. It also helps that these guys are hilarious, have great chemistry, even better friendship and are pretty well known.

Outside "Workaholics", all these guys are still working. Kyle Newachek is still directing and producing, most recently on the great TV show, "What We Do in the Shadows". Adam Devine has starred in his fair share of movies of late, and he has just been announced as the star of an upcoming "Pitch Perfect" TV series. Anders Holm is still doing his thing, he is apparently in an upcoming movie with Robert De Niro. He was also great in "Top 5" by the way. And Blake Henderson, he has a recurring role on "Woke", was great on "Parks and Rec" and was excellent in the movie "Dope". They are all still grinding, and they still have the time to get together for an hour a week and make a goofy, ridiculous and fun podcast.

I often find myself cracking up when I listen. It is so mundane and wild and crazy and hilarious. They literally just take a subject here and there and they go down crazy rabbit holes. They did a good 10-15 minutes on John Lithgow movies a few episodes back. They did their first "live" episode when Devine had his bachelor party in the Ozarks. It was epic. When Holm goes on about neo soul music, I love it because I love neo soul. Anderson has a soundboard, and the way he uses it during the show is so hilariously perfect. Newachek will spend most of his time either talking about his wife and kids, his garden or expelling gas on the microphone. I know this all sounds trite and boring, but I promise you it is not. Especially if you like Mail Order Comedy and "Workaholics". It is just a continuation of where they started. They may have reached a new level of fame, but these dudes seem totally down to Earth, which is awesome. I think the simpleness of the pod is why I love listening to it while running. It marries the comedy and conversation aspects that I like about podcasts. It takes those two genres and melds them perfectly. I love it because it is two of my most favorite things about podcasting.

If you like these guys, or watched "Workaholics", or just enjoy friends getting together that happen to be extremely funny, check out "This is Important". It is well worth your time.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listen's to Lizzo's "Rumors"

The other day I finally got around to listening to the new Lizzo Song "Rumors" featuring Cardi B.

This song rules.

Lizzo has been rocketing up the stardom chain for about three years now. And this new song is only going to make her even more famous. She is coming off a ton of Grammy nominations and some wins. "Cause I Love You" was a smash hit that featured a plethora of top singles. Prior to the pandemic she was selling out pretty much every live show within a day or two. I know the show in Saint Louis was moved to a bigger venue due to how fast she sold it out. She was climbing the ranks. This new song further hammers home that she is the queen of pop and rap music at the moment. She is doing it better than anyone out there right now.

“Rumors” is dirty and fun and has a great beat and Lizzo's vocals are a thing of beauty. The way she can switch from rapping to singing is a sight to behold with your ears. She is not equaled by anyone right now. She raps better than Cardi B does on this song, and Cardi B is good. Lizzo is simply better. I love the beat of the song too. It comes in hard. It is stanky, which is a very good thing. And when Lizzo comes in with the first couple of lines, I was hooked. I love the way she says "God damn" in between each lyric in the song. It immediately grabs you. If you are a fan, you want more. If you have never heard her, but like rap music, it will grab you too. And if you like modern pop music, Lizzo is the best in the game. As I said earlier, the way she vacillates between rap and pop singing is so good. She starts the song with some sing songy lyrics, where she intersplices the "God damn" parts, and when the verse hits, she belts it the hell out of the park. She then switches into rap mode and absolutely crushes it. The chorus is very catchy and very fun, with both ladies showcasing their talents. Then Cardi B gets to let loose on her verse, and she crushes. It is a very good rap verse from a rapper I have never really listened to before. I will be checking out some of her other music now. I think what I like most about the song is how much fun the two of them are having. You can tell they had a blast making this song. It comes across so well. When the people making the music are having fun, that is usually the sign of a song that is going to be a big hit. I am kind of surprised it did not come out sooner this summer, it could have owned the charts. But the fact that we are getting new music from Lizzo is great. I would much rather listen to her than a lot of other pop musicians out there right now.

I hope this single means she is working on a new record. That would rule. For the time being though, I will continue to listen to "Rumors". I suggest you do the same.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "Solar Power"

Ten days ago Lorde put out her long awaited third album, "Solar Power". I had heard the two singles she released early, I am a fan and like so many others I was pretty excited to listen to the record. I listened the morning it came out, listened again right after that and have gone back here and there in the last week plus to get my ears on it some more.

“Solar Power” is different from Lorde’s first two records. She exploded on the scene with "Pure Heroine" and "Melodrama" is a masterpiece. I was curious to see what direction she would go in with this album, and it is a whole new direction. And I enjoy it. I have seen some people giving it tepid reviews, but I have enjoyed every listen to this point.

The record is very stripped down. It is very acoustic. It is very sleepy in a good way. Putting the record out in late August was perfect because the album has the feeling of the end of summer. Jack Antonoff produced it and the more records I hear that he produces I am finding that I like them. I am not a huge fan of his bands. Fun is okay, Bleachers is fine, but I do not dig the music he plays. His producing for pop stars is top notch though. He has a gift and the ear to produce pop music. I also like how he has the artists kind of go bare bones with the albums he helps them make. Doing with this Lorde could have been a misstep, but both of them found a way to make it work and make it great.

Like I said, the album is slower and way stripped down from her first two. It is a nice change of pace. I love listening to the record when I am cleaning the house or going for a drive. My daughter really enjoys the record. She is growing to like slower, more folky music as she gets older. I love it. I think what I love most about the album is it lets Lorde's vocals totally shine. Her voice is the main, and most important instrument on this record. Lorde is a great singer, with a powerful voice and "Solar Power" really lets that shine. That is not to say that the first two records don't do that, but there is a ton of instruments and music backing her vocals. "Solar Power" is light piano, some drums and acoustic guitars backing Lorde's vocals. It is perfect. I also like how quick the album moves. No song is longer than five minutes, except the closer which is like two songs melded together. The middle of the album meanders for a bit, maybe two songs, but even the meandering works on the record. There is one song where she talks at the end as if she is an announcer in the airport, and I love that song. After the two slower tunes though she rips through three or four songs that are super short, but super good. Those songs are all about the lyrics and Lorde shines through singing the words she wrote. I especially love the song "Dominoes".

I do not get the backlash that this record is receiving from some, but there will always be critics for everything. All I know is I really like the record. Lorde is as reliable a musician as we have right now. When she puts out new music it will be good. It will have people talking. Fans will be delighted and she will make new fans. As I always say, I like when artists take chances, try something new, and that is what Lorde has done with "Solar Power". I really enjoy this record and I definitely recommend you give it a listen.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "Call Me if You Get Lost"

Tyler, the Creator came out with a new record today, "Call Me if You Get Lost". Let’s discuss.

I am a fan of Tyler. I first heard of him with his supergroup Odd Future, and have followed him ever since. I like all of his stuff. When he branched out on his own he did some grimy and gritty and great rap music. It could be tough to listen to at times, but it was dynamite. Then about three or four years ago he put out "IGOR". This is one of the best concept albums I have ever heard. He really went out on a limb, tried something different and it was a home run. I love that record. The last live show I saw was him doing his "IGOR" tour, and if that is the last live show I ever see, I feel very fine about that.

So when he announced new music, I did not really know what to expect. I thought he was going to continue with the "IGOR" sound one day, but the next day I would think he was going to go back to more straight forward rap. Then he released the song "LUMBERJACK" early, and that was like hearing old school Tyler, but also grown up. It is a straight up rap song, but Tyler has gotten even better at rapping. The way he flows, the intricate style he uses, the way he rhymes words, it shows growth as an artist. I really like "LUMBERJACK". I listened to it on repeat for about a week.

Then today he released the new record. There are sixteen songs on it, and most are less than three minutes long. But what he gets done in those three minutes is pretty amazing. The record is all pretty much straight up rap, but he accomplishes so much in that time. Take a song like "LEMONHEAD". It has a great beat, the verses are dope as hell and Tyler is in a groove throughout. It is bliss. There are some songs that deviate from the less than three minutes, but after a minute long buildup, it is two straight minutes of him rapping, and rapping perfectly. The album flows very nicely too. There seems to be a running theme, almost like he is telling a story with this album. It has the feel of "IGOR" in the way it moves from song to song. I really appreciate that. Some albums nowadays are front loaded with hits and the rest of the record is kind of blah. This album is one good song after the next, just like "IGOR". There isn't a skippable song on the record. Even when he has a little deviation, there is a song where he just lets his mom talk over a beat, it works. It feels like it belongs. There is one song that is almost ten minutes, but it is like three songs in one. The whole song doesn't feel long. It isn't like listening to a jam band go on an endless jam. This song has a structure and key changes and is amazing.

Tyler is at the top of his game right now. He is really good at what he does, and he knows it. I do recommend watching the little videos he has been posting on his Instagram for this album. They add a great layer to the album. Go listen to this record. It is good. It is better than most popular rap and pop music right now. Go give artists like Tyler, the Creator their flowers because they damn well deserve it. This record rules.

Ty

Ty Listens to Lorde's "Solar Power"

For the first time in, I think four years, Lorde released a new song. I saw her on her last tour and it was amazing. Her last album, "Melodrama", is phenomenal. She is a very unique and gifted singer and songwriter. She also takes a very long time in between albums. As I said, this is her first new song in four years, and it is just one song. I have to imagine an album is coming out, hopefully sometime soon. But this song, "Solar Power", is pretty damn great.

I saw on Spotify last week that the title section, "New Music" had her new song. I listened immediately. Then I listened again. Then again. I have been listening to the song non stop, which has led me to listening to all her older stuff more and more. But this new song is different but still great. Lorde keeps evolving as an artist the older she gets. Her music is becoming more adult because she is becoming an adult. Her first album is rad, but you can tell she is a teenager. The song "Royals", which I love, speaks volumes to how young she was when she wrote and recorded it. The whole "Melodrama" album shows someone entering adulthood. And now with "Solar Power", she is kind of melding the two, and the outcome is pure magic. The song has this neat little acoustic guitar riff for the first two minutes that is permanently stuck in my head. You add on her vocals throughout, where she is kind of softly singing, almost like a whisper, and man does it work. The song sounds moody but upbeat at the same time. She has one lyric that I think is perfection. At one point she calls herself a "prettier Jesus". That is it. She sings, "I'm like a prettier Jesus", and it is so awesome, so profound, so Lorde. The first time I heard her sing it in the song I was hooked. When we get to the two minute point in the song it gets louder and heavier. It builds to this great crescendo of drums, electric guitar and Lorde singing the chorus louder than the rest of the song. I love it so much.

I have been playing the new song in my car on repeat, but especially when my five year old is with me. I want her to hear kickass music coming from a woman. I want her to know that she can do this too if she wants, and if she puts in the time. We listen to other stuff like, Karen O, Sleater-Kinney, Lizzo and Erykah Badu, but my daughter, at least lately, has been picking Lorde, and more specifically, her new song. She loves it. She hums and sings along to it. We sing and dance together when we listen to it on our stereo at home. It is such a good song, and the fact that my daughter is so into it lets me know she has good taste and understands what good music is. She is a smart little whip.

"Solar Power" has me so excited for the new, I assume, album that Lorde has coming down the pipe. She is one of the best people making music right now, and I still feel like she gets overlooked because she isn't some pop darling. She writes profound, deep music. That is what should be celebrated about her. Lorde rules. I'm ready for the full album. In the meantime, I think I'll go play "Solar Power" again. I recommend you do too.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "Delta Kream"

The Black Keys put out a new album last week called “Delta Kream”. Well, it is new for their fans, but the songs are older blues songs.

The track list consists of twelve songs, one repeat at the end, of songs by artists like RL Burnside and Junior Kimbrough. These are the musicians that the members of The Black Keys grew up listening to. I had never heard of Kimbrough or Burnside until I listened to The Black Keys. Then I grew to adore their music. It is really grimy and gritty, dirty old blues music. It is fuzzy and distorted and the voices of Burnside and Kimbrough are second to none. So to hear Dan Auerbach sing and play guitar on these songs, and to hear Patrick Carney's drumming, it is sublime. They do have two other musicians on the record, and they are guys that played with Burnside and Kimbrough.

Look, I am obsessed with this record. I remember when the Keys early released the first track from the album, "Crawling Kingsnake", and I was blown away. I wrote about how excited I was when I heard this. It was like a throwback to my favorite Keys record, "Thickfreakness". It has all the fuzziness and distortion and grim that made me first love this band. It is a throwback in all the best ways. I devoured "Crawling Kingsnake" and "Goin Down South" when they released them. I played them for anyone that would ride in my car. I talked about them obsessively. I was already hooked. Then last Friday, the day the album came out, I listened to the record twice. Then I listened the next day and the next. In fact I have listened to it at least once a day since it came out. And the more I hear it, the more I like it. "Crawling Kingsnake" and "Goin Down South" were great early releases. "Crawling Kingsnake" gave me the "Thickfreakness" vibe I have been craving. "Goin Down South" has some awesome music, and Auerbach does a high falsetto type voice when singing, and it works.

Outside those two songs we get some excellent tunes. Songs like "Louise", which is a classic blues song, or "Stay All Night", in which the Keys sound like they did on their first record, "The Big Come Up", those are incredible. We get some remakes of songs they have already covered on other records. Their new versions of "Do the Romp", "Sad Days Lonely Nights" and "Poor Boy a Long Way from Home" are great. They show the growth this band has had in their very long, very illustrious career to this point. Then there are some songs I have never heard that I have grown to love. "Mellow Peaches" is my favorite cover on the album. It is so good. "Walk With Me" is totally rad. "Come on and Go With Me" is as old school electric blues as it gets. I love that song so very much.

This album is really, really good. I do not get the slander on some of The Black Keys fan pages calling this record "slow" and "boring". That is pure nonsense. I'm not always fan of cover records, but when they are done well, like "Delta Kream", they are so so so good. I cannot recommend this album enough. Any fan of blues music, exceptional guitar and wonderful drums will love this album. It is such an excellent homage to these past blues legends that may not get the credit they are very much due. Go listen to this album. It rules.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to The Black Keys Cover of "Crawling Kingsnake"

This morning while scrolling on the internet I came across some good news for once. Let’s discuss.

I’m a big Black Keys fan. They’re my second favorite band behind Run the Jewels. I’ve seen them live more than any other band. I found out about them when MTV2 used to play videos and they performed on an awards show I came across in 2002. And I’ve stayed with them ever since. They’ve achieved a decent amount of fame and now they’re in a situation where they can do the music they want when they want. So when I saw they have a new record of old blues covers coming out next month I was pumped.

As I said, this was good news. When I saw the musicians they would be covering on the record I got even more excited. They said on the press release that they were doing covers of people who inspired them to do the music they now make. Guys like John Lee Hooker, RL Burnside and Junior Kimborough, amongst others, are who The Black Keys will be covering on this record. That’s great. It was also great to read this press release because they announced that they had released the first single off the new record today. I immediately switched over to Spotify to listen.

The song is called “Crawling Kingsnake”, which I believe is a John Lee Hooker cover. I absolutely loved this song from the first note. I am not familiar with the original version but I will soon be after some more listens to the Keys version. This is The Black Keys that I love. I love everything they do, but this stripped down version, the original version of just Patrick Carney and Dan Auerbach, that’s what I adore. That’s the band I fell in love with. All the records they did as just the two of them, those are the best, especially “Thickfreakness”. And this version of “Crawling Kingsnake” has major “Thickfreakness” vibes. From the dirty guitar to the reverb to the chaotic yet somehow put together drum parts to Auerbach’s gravelly voice, it’s all there and it’s all amazing. I have listened to this song about six times already, both versions I might add. They have the unedited and edited version right now. There is no cursing, it’s just the length of each version of the song. I prefer the six minute version. The version where you can hear the two of them talk before they start the song. It is so damn good. To hear them sound like this again, to go back to the early days, it just made me so very happy. I was, and still am, ecstatic. Not that I ever fell out of favor with them, but the fuller band took just a teeny tiny bit out of their aura to me. So when they strip it down, when they go back to basics, it gives me the same vibes I had when I first heard them.

I highly recommend people go listen to this track and then the album when it comes out. Black Keys fans will dig it, blues fans will like it, garage rock fans will enjoy it and newer Keys fans will hear the original version of this band for the first time. I cannot say enough good things about this song. It gets all the thumbs up that it can have. I cannot wait for the record, but for the time being, I’m going to go listen to the new single about 5 dozen more times. I suggest you do the same.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to The "Ear Hustle" Podcast

Entering season 6, “Ear Hustle” is finding a great groove and is becoming one of the best podcasts available.

I was late to this pod. I heard one of the co hosts, Earlonne Woods, on a different pod a few years back and decided then that I was going to listen. I gobbled up the previous seasons. When I started listening, Woods was still in jail. They did, and still do, stories of what life is like inside San Quentin. I was fascinated. I never really dug this deep into prison life stories. I have watched movies and TV shows, but those were all hyper superficial. It was the cliché stuff. Shows like “Orange is the New Black” and “Oz” seemed like a good representation to me. I couldn’t have been more wrong. There is violence and very crazy stuff that happens in prison, but not like the Hollywood version according to these prisoners. Life seemed boring and pretty redundant. It seemed very structured and very quiet, for the most part. There were stories from certain people who dealt with abuse and violence inside, but those were few and far between. I thought this was interesting. It gave me a new outlook.

Earlonne Woods eventually got released, and that’s when this pod took an even bigger leap, and it really soared. They still have a person inside, he goes by the nickname New York, and we still get stories from the inside, but with Woods out, we are getting stories about prisoners that have been released. That’s equally fascinating. Some are doing well, others are struggling a bit and some are back in jail. There’s a few great stories about these guys. There’s one about a guy who got a job as a trash collector in a strip mall in San Francisco. The job doesn’t sound glamorous, but the way the gentleman describes it, you’d think he was a head honcho at a big corporation. He was thrilled to be doing something on the outside. There was another one, a sad one, about an addict who keeps relapsing and keeps ending up back in jail. Mind you we are still getting stories about guys in jail. There’s been excellent ones about music, taking care of animals, letters and the food. When the pandemic hit I thought that might have been the end, but they kept at it and kept making new episodes. They all had to be about guys who were released, but they also found new angles. There is an episode about kids who stay at a camp where they have incarcerated parents. That was powerful. They did a cooking competition. That was fun. They found ways to keep doing it and do it well.

They have released the first two episodes of season 6, and both are excellent. The first was them catching up with a few former guests. They were also able to get a mic back inside and have New York talk to people. The most recent episode was about visits in the age of COVID. It was eye opening.

This pod just gets better and better with each new season. I look forward to listening to “Ear Hustle” more than the other pods I regularly listen to. I highly recommend checking it out. Nigel Poor and Earlonne Woods are great hosts, and New York does fine work as well. Check this pod out. You will really enjoy it.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "Roseville"

I know that I said there wasn't a lot of music I knew about coming out this year, but for the second week in a row I am going to write about a new album that I have been enjoying quite a bit. This album lands in the whole, "I'm sure there is new music coming out this year that I will love, I just don't know about it yet" category.

The album is called "Roseville", and it is a new solo album from one of my favorites, Har Mar Superstar. I am a big fan, and I also always find myself not knowing he has a new record until a day or two before it comes out. That is the same with this album. I loved the Heartbones stuff he was doing, but I had no idea he was working on a new solo album. Then I saw stuff pop up on social media that he was working on it and finishing it up and that it would be out soon. It came out last Friday and I have been listening to it a ton. It has pretty much replaced all the other stuff I have been listening to. It has definitely taken over Weezer's spot as my most played music on Spotify. This album is absolutely wonderful. With each new record, I feel Har Mar just keeps getting better and better. He is also making really cool throwback R&B/soul music. This new album sounds like part of it could have been made for Stax. It is so soulful and so full of sound and Har Mar's voice is purely wonderful on it all. From start to finish this is an album where no song should be skipped.

The record starts with that 70's type R&B/ soul music. The first four or five songs are classic throwback songs. The accompanying music is perfect for the sound he is going for. The addition of horns was a great choice. It makes the music sound fuller. It is perfect. When you get to the later half of the record it is a blend of 70's soul with his alternative pop sound. Personally I adore the songs "Neon Aglow" and "Hearts Have Misspoken". They both have that full sound, but the groove and the lyrics are like early Har Mar. These songs could have easily been on his early stuff, but they almost feel saved for this newer sound he aimed for, and nailed, on this new record. I will find myself dancing and singing along to both of these songs already. That is quick for me too. My son likes to listen to this record with me too. The funny thing with that is, he is 9 years old, only seems to like the music played on Fortnite, but he is so amped whenever I play "Roseville" now. I love it. He also thinks it's awesome that you can hear a dog bark at the end of one of the songs. He told me that he likes the music, but his favorite part is when the dog barks. That rules. My daughter likes pretty much anything I play in the car, but I have seen her get a little more dancy when I play this new record. I love it when musicians I like do stuff that I can enjoy with my kids too. "Roseville" definitely fits in that category. Har Mar is at a point for me that when he puts something out, I know it is going to be good. He is such a good songwriter and singer, and he seems to surround himself with really good musicians.

This record is great, and so is everything else he does. Of course I recommend this album. It is quick, sweet, well made, well produced and fun as hell. I appreciate new music too, especially during the pandemic. This record has put a smile on my face, and it feels much needed right now. Thank you Har Mar for the new music. It is awesome.

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "Down in the Weeds, Where the World Once Was"

It has been nine years, but Bright Eyes put out a new album a week or so ago. I had read news awhile back that they were working on some new material, but I had kind of forgotten about it. Then they released a music video which I watched and enjoyed. But again, that was in early summer. I had forgotten that they were working on music.

Then one afternoon when I was out, or doing homeschooling, I don't really know anymore, the days all blend, my buddy Kirk texted to ask if I had listened to the new record yet. I hadn't, so I remedied that right that moment. I didn't know what to expect. I am a fan. I first listened to Bright Eyes when I heard the record "I'm Wide Awake, It's Morning". At the time I liked slower acoustic stuff, and when they went heavy and angry, I liked it. I then devoured pretty much all of their stuff. The live record, "Motion Sickness" is a great live album. I wasn't so much into "Digital Ash in a Digital Urn". And I really, truly liked "Cassadaga" and "The People's Key". I then went back and listened to really early Bright Eyes. "Letting Off the Happiness", and mainly "Fevers and Mirrors" were revelatory for me. Then I dug into Conor Oberst' solo stuff and his work with other bands. I was, at least considered myself, a full fledged fan. I dig his writing. Yes it can be depressing, but so can so many other bands and singers and songwriters I listen to. Hell, I love the blues, and that is as sad as it gets. But as he has grown up, Oberst, he seems to have gotten a little less sad, a little less depressing. I could hear a tinge of it in "Cassadaga", I believe he wrote that record when he got clean. Then it was even more forward in "The People's Key". But coming into the new record, since it had been so long, I was intrigued. Would he go back to the anger and depression, focusing more on acoustic music? Or would he continue with his growth?

Well, "Down In the Weeds, Where the World Once Was", definitely reminds me of the more grown up Oberst. It has been nearly a decade, Oberst is now 40 years old, he has gone through a divorce, he has lost a brother, he has been accused of sexual assault, which was retracted by the accuser fairly quick after the accusation, he has been through a lot, and he has come out the other side. That is what I get from "DITWWTWOW". This is a grown up making good, accessible grown up music. It still has his touch, and that voice is so uniquely him. But still, this album has happier music, and not nearly as depressing lyrics. It can go there from time to time. "One and Done" is kind of on that track, but it still sounds happy when you get to the chorus. It is also a great closure song. It feels like he is getting all the bad stuff from past relationships off his chest. Then to follow that up with "Pan and Broom", which sounds like an 80's tune, but with Oberst's happier lyrics, I love it. I like the way the record starts too. "Dance and Sing" really gets it going. There is some nice guitar in the song. It brought me right back to 2010 when I listened to him the most. "Just Once in the World" has that acoustic sound, but it builds and builds to a great crescendo. So far "Mariana Trench" is my favorite track. It has my favorite music in it, and the chorus is catchy as hell, which shocked me coming from Oberst. I find myself humming this song a lot. I really dig "Persona Non Grata". It starts out with just Oberst and a piano, but when the drums kick in it has that classic sound. I find it comforting to hear this music and be taken back to where I was nearly 10 years ago. It also has some cool strings and horns attached, which is always a plus for me. "Tilt-A-Whirl" seems like an ode to his brother that he lost. He opens by saying that a "phantom brother came to me". The song is also sad, but sweet at the same time. It's a good one. "Forced Convalescence" is upbeat and fun, musically. Again, the lyrics can be a downer a bit, but the music works so well, and I find myself bobbing my head along when it plays.

This record is good all around. It is a cozy blanket. It is a reminder of why I started, and continued to listen to his music. Oberst is a great writer, and I think age has only made him better. He has been through and seen so much, I believe that helps him as a writer. I highly recommend this album. It is some great work. 

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

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Ty Listens to "Paradiso"

The Sloppy Boys released a new record “Paradiso” last week, and boy was it much needed. I like this band, I think the guys are funny, but I also appreciate the music they make. They are fun, they remind me of summer and, while this whole year has been a totally dumpster fire, their music lets me forget for thirty minutes about what is going on outside. They make fun music that just grooves. I didn't know they were making another new record either, but I guess, just like the rest of us, they have a ton of free time, so why not, right.

This album, much like their first two, is swift, charming and funny. There are songs about drinking, drugs, getting laid and having a good time, which is what I have come to expect from them. But what I didn't really see coming was how much better they are getting at their instruments. I also dig the fact that they have thrown a sax on a few songs. They are branching out, and I like that. I also have become very accustomed to Tim Kalpakis' voice, and I am a tried and true fan. I fully enjoy when he is the lead singer. Don't get me wrong, Mike Hanford is a solid singer too, and Jeff Dutton throws in some solid backing vocals, but I am a Kalpakis guy.

The opening track, "One Last Bender" sets the table perfectly, and Kalpakis' voice is front and center. It is a fun song about getting hammered. It's great. The next song, "We're Gonna Get You Laid" is funny, and it takes the perspective of a guy trying to help a girl get laid. I think that is pretty cool, and the song is rad. "Breakfast at Bellevue" features Kalpakis on lead vocals, and has a very cool build up at the beginning. Then it morphs into their surfer summer rock style they have locked down. "Out on the Town" is like an old school 80's rap song. It has neat keyboards, funny vocals and hearing them do a song like this makes me laugh and groove at the same time. It is a good song to run to as well. "The Mastah Bong Ripper" is like Black Sabbath meets the Count from "Sesame Street". This song is so weird and so awesome. It's also hilarious the way they put it out on the record. It is totally different from anything they've done to this point, and I love it. It is my favorite song on the record at the moment. "Armageddon" is like a tribute to both Billy Joel and Bruce Willis. They sing and play it in classic waltz style, all the while talking about friends that have grown up and stopped drinking and have families, but they also mention Bruce Willis movies. It is great. "Little Miss Socialite" is a song that could easily be played on pop radio today if pop radio were cool. It has some nice distorted guitar in it, and the lyrics are solid. "Oh Yeah" is more of a classic rock song. It has banging drums, good quality guitar and Mike Hanford bringing it with his voice. The song is all about yelling the phrase "Oh Yeah" also. That is what I love about this band. They are good, but they don't take themselves too seriously. They play music for fun and just happen to be good at it. "College Night" is the longest song on the record, coming in at over six minutes, and it starts with Tim Kalpakis just naming colleges, and then they get into the meat of the song. It starts with distorted guitars, and then shifts to acoustic, with some nice little riffs thrown in, and Kalpakis singing about what college students do at night time. It is kind of sweet if I do say so. This is akin to "Classic New York Night" from their last record. It is an anthem type song, and it sounds like an ode to something bigger. But when you listen to the words, it is pure comedy. I love that they do one song like this on their records. It is almost as assured as their surf rock sound. "Full Blown Free for All" is the closer, and it sounds like the closer to a rocking record. It is fast paced with fast singing and it closes out this new album perfectly.

I really like “Paradiso”. I am a Sloppy boys fan, or Slophead as we are now known. I am happy they made a new record also. It is a nice detour from the real world, and I appreciate that they keep making music. I definitely recommend this record. 

Ty

Ty is the Pop Culture editor for SeedSing and the other host of the X Millennial Man Podcast.

Come and support Ty and the podcast on Patreon.

Follow Ty on instagram and twitter.

SeedSing is funded by a group of awesome people. Join them by donating to SeedSing.