Tag Archives: m.i.a.

RDR Music Director’s 10 WORST Albums of 2016

Look, I don’t like to be a negative person. But, it’s been a negative year, and there have been some truly confounding albums that only seemed to make things worse with their badness.

So, in the spirit of humor, taking the piss, and Internet clickbait, I will be listing the 10 albums that I hated the most this year. I’m only listing albums that I listened to, perhaps even albums I was highly anticipating before they came out. These 10 albums were either extremely disappointing or they totally lived up to the paltry, minuscule expectations I had for them in the first place.

For better or worse, below are the 10 WORST albums of 2016, with #10 being the least worst and #1 being the absolute fucking worst. Stay tuned for the 69 Best Albums of the Year, which will be way more positive, optimistic, and carefully written.

10. Red Hot Chili Peppers – The Getaway


Famed Cali-rock act RHCP is currently coasting through a mildly successful fourth act, due in large part to The Getaway, the sophomore album of the band’s second post-Frusciante phase. The Getaway isn’t really a horrible album, so much as it is a well-composed album that’s completely ruined by Anthony Kiedis’ cringey vocals and lyrics.

The Getaway isn’t spectacularly bad, but it did turn me into the kind of person that would openly bash Anthony Kiedis’ vocals and lyrics. I used to be a big RHCP fan, and even after I stopped really listening to them I never developed a hatred for them, it was more like a quiet respect. Yet, here I am, rightfully bashing the shit out of Kiedis on this album.

This record is a halfway-coherent concept album about the 50-year-old singer of Red Hot Chili Peppers being dumped his 23-year-old girlfriend over some legitimately good and interesting musical contributions by Josh Klinghoffer, Flea, and Chad Smith. There are a few cuts I find likable, like lead single “Dark Necessities,” and it’s nice to get an album produced by Danger Mouse that isn’t completely lifeless, but this is too weak a follow-up to an even weaker album (2011’s toothless I’m With You) to have an impact on me in any meaningful way.

9. Blink-182 – California


Famed Cali-rock act Blink-182 is currently coasting through a m—

Um, I mean… Blink-182 is a world-famous alternative/pop-punk trio who recently ditched its most interesting member: vocalist/guitarist Tom DeLonge. While DeLonge is busy helping Hillary Clinton find ancient aliens, bassist/vocalist Mark Hoppus and drummer Travis Barker kidnapped Matt Skiba from… *checks notecards* … Alkaline Trio, which is probably another alternative/pop-punk band.

But don’t mistake this as just another attempt to continue cashing in on a dead brand at arenas all over Southern California, for this new Blink lineup actually resulted in some productive recording sessions. At least I can say that there’s way more chemistry on this album than on Blink’s 2011 discography blight, Neighborhoods, but DeLonge’s absence from the mix is totally felt.

Once again, the band tries to be the adolescent late-90s fuckboys that made bestiality jokes onstage as well as the trio of serious, poetic early-40s dad-dudes, who totally love A Day to Remember, bro. It didn’t work then, and it still doesn’t work.

California is a forgettable-ass album, with a decent single, two throwaway joke songs, and far too much self-seriousness (and too little Tom DeLonge) for its own good. And this is coming from a guy who willingly saw Blink-182 live in 2014, a few months before the ouster of Mr. Angels & Airwaves himself. In that regard, California is probably the biggest waste of time of any Blink-182 album to date, and I will be unsurprised if it is the final one Hoppus and Barker manage to crank out before the pop-punkocalypse kills us all.

8. Francis and the Lights – Farewell, Starlite!


The first time I had ever heard of Francis and the Lights, it was when I was asking “…is that Justin Vernon?” during my first listen-through of Chance the Rapper’s Coloring Book. Nah, it turns out the voice on “Summer Friends,” one of the worst songs on that mixtape, is some dude named Francis Farewell Starlite (that’s his real name) who sounds kind of like Justin Vernon. It doesn’t help that the song “Summer Friends” samples, “Friends,” features Justin Vernon.

All this confusion coalesces on Farewell, Starlite!, a messy, hazy debut album that only proves the point that this dude is as forgettable as his contribution to Chance the Rapper’s worst release. Farewell, Starlite! is a 30-minute dud that feels rushed, incomplete, and bland as hell.

If this guy wants to deserve the hype he has, he needs to hone his skill and distinguish himself from just being the Justin Vernon-sounding dude with the Peter Gabriel worship who was briefly on that Chance record to a memorable, significant musical figure. Next.

7. Drake – Views


In the many years that I’ve been compiling year-end best-album lists, Drake has been on two of them. First in 2013 for Nothing Was the Same and then last year for If You’re Reading This, It’s Too Late. What the hell happened?

I’m not really sure. I don’t know why or how this album happened. Maybe Drake is surrounded by too many yes-people who are afraid to challenge him musically, or maybe they legitimately thought it was dope.

And I understand. There are certainly moments on Views that I think are fairly good, like the opening track “Keep the Family Close,” or the bars on “Hype” and “Weston Road Flows.” I don’t even mind “One Dance” or “Child’s Play” that much. But going back to it, that’s like 25% decent (not great) material in an album that is otherwise flooded with filler, fat, and snooze-bars.

“Redemption”? “With You”? “Faithful”? “Fire & Desire”? Do you even remember what these songs sound like without refreshing your memory? Even some of the more memorable tracks like “Pop Style,” “Too Good,” and “Controlla” are just not that good. This album is filled with too many weak songs, which isn’t typical of a Drake album. Hopefully the project he’s teasing now for release early next year will see a return of that hungry, melodically gifted Drake we all know and love. Because this shit sucks.

6. Desiigner – New English


Before Desiigner was the Grammy-nominated goofball superstar he is now, he was the Future-ripping teenager whose hit single “Panda” some-crazy-how ended up on Kanye West’s highly anticipated The Life of Pablo. Now, he’s signed to GOOD Music and has an extremely weak mixtape under his belt, New English.

This thing is messy, clearly unfinished, and actually kind of insulting. If you’re going to come into the game biting somebody else’s style (and you can’t say he doesn’t sound a lot like Future), then at least prove yourself with something beyond one established hit single.

But, no, this album is laced with forgettable filler tracks and some literal snippets of songs that still have not been released in full. Desiigner’s post-New English single “Tiimmy Turner” has me intrigued, but not by much. I guess the one upside is that he couldn’t possibly release something worse than this.

5. Green Day – Revolution Radio


Famed Cali-rock act Green Day is currently—

Fuck! No!

Jeez. Ahem. The last time we heard from Green Day, the band closed out 2012 with a trilogy of really bad power-pop albums, titled ¡Uno!, ¡Dos!, and ¡Tré!. Thankfully, they took an entire presidential term before coming back with something… just as bad.

Revolution Radio is one of the most boring, flaccid “punk” albums I’ve ever heard. It is unashamed of how commercial and overproduced it is, with painfully inadequate platitudes disguised as “revolutionary rhetoric.” I’m not even sure who Green Day is playing to at this point, because at least the empty platitudes on American Idiot were presented as catchy songs. This is just embarrassing.

Ironically titled Revolution Radio, this album is as groundbreaking as royalty-free Spike TV “RAWK MUZIK” that plays in, like, Monster Energy Drink commercials. Except it’s worse because it seems like they’re trying really hard. This album almost seems like it was crafted as a clever joke, but I know that Green Day isn’t that self aware.

4. Macklemore & Ryan Lewis – This Unruly Mess I’ve Made


I don’t tend to think of myself as being contrarian simply for the sake of opposing mainstream cultural obsessions. If I like something, I like it. If I dislike something, I dislike it.

I hate this fucking album.

Macklemore is a rapper from my (filthy) city, Seattle, where he cut his teeth writing not-horrible conscious raps about Real Shit™. Then, in 2012, he blew up with one of my least favorite pop rap songs ever, “Thrift Shop,” while also capitalizing on LGBT+ microaggressions with “Same Love,” which will probably be looked at historically as the song that effectively legalized same-sex marriage. Great.

Then, he did the unthinkable. He beat Kendrick Lamar’s masterful instant classic good kid, m.A.A.d. city – which didn’t commodify LGBT+ rights or produce any embarrassingly obnoxious radio rap singles – for the Grammy Awards’ coveted Best Rap Album trophy. He didn’t do it on purpose, obviously, but the deed was done.

So, however many pleasant Macklemore-free years later, Macklemore is back to apologize for his big oopsie. With trusty minion Ryan Lewis in tow, pianos and horns and warts and all, Mack lent his annoying ass voice to more corny bullshit, with a couple moments of heartfelt seriousness thrown in there for fun.

This Unruly Mess I’ve Made came out in, like, February and I’m still upset about its existence. I do not want this man to be associated with Seattle’s amazing, experimental hip-hop scene, and I’m not sorry that this album sucks.

3. A$AP Ferg – Always Strive and Prosper


I really enjoyed (and still enjoy) the 2013 debut from NY rapper A$AP Ferg, Trap Lord, which was an unexpected smash with critics and fans alike. Naturally, I was hoping that this studio follow-up would be similarly heavy on catchy bangers, with an emphasis on Ferg’s unforgettable voice and amazing hooks.

Nope. Nope nope nope nope. Not here. Always Strive and Prosper is a weak pseudo-concept album that features some ill-conceived attempts at radio hits and EDM-rap bangers. “Hungry Ham,” with Skrillex, is annoying as hell. And “Strive,” which features the usually on-point Missy Elliott, is straight-up garbage.

Always Strive and Prosper is a jumbled mess of an album that is incoherent and incohesive, and it in no way lives up to the standard Ferg set for himself that 2013 summer when Trap Lord was miraculously borne unto this cold world.  

This album was not good, and I think Ferg realizes that no one vibes with this record, so hopefully the next release will be more in the direction where he actually does strive and prosper, which is catchy, funny hip-hop bangers. I’m not saying he should box himself into one style, but he should take this album’s poor reception into serious consideration.

2. M.I.A. – AIM


It was only a matter of time until the previously sharp and at times underrated M.I.A. released a miserable album. There are songs on this album that literally sound like they were written and recorded in three days, and not in a charming, lo-fi sort of way, but in a “Oh shit, I’ve got three days until I need to turn the album in and I have nothing” sort of way.

AIM is M.I.A.’s least successful album to date, both commercially and critically, and for very good reason. The songs aren’t catchy or sharp, the production is thin and lame, and the minimal effort that seems to have been put into AIM totally shows.

I never want to hear this album again. The singles are weaker than some of the worst songs on her previous album, and the deep cuts on AIM are uncharted territory. Listen to this record at your own risk, because it may completely destroy your pre-conceived notions of how amazing M.I.A.’s previous music is.

1. Corey Feldman – Angelic 2 The Core: Angelic Funkadelic/Angelic Rockadelic


Actor Corey Feldman, whose most famous roles were as a child back in the ‘80s in films like “The Goonies,” “Stand By Me,” and “The Lost Boys,” is also a musician. If you didn’t know that, perhaps you missed some of the viral talk show performances he did a few months back. Because that wasn’t just a publicity stunt. Corey Feldman was promoting his impossibly horrendous new 90-minute double album, Angelic 2 The Core: Angelic Funkadelic/Angelic Rockadelic.

A2TC: AF/AR is a messy, poorly conceived “concept” album about who-the-fuck-knows, and it has me concerned that Mr. Feldman needs some serious professional help. This album features Snoop Dogg, Kurupt, and Fred Durst of Limp Bizkit fame, so you know that he spent way too much money getting it made.

It’s also a fusion of the worst versions of a myriad of genres, like pop, dubstep, house music, hip-hop, funk, and countless others. It’s difficult to sit through, and even if you make it to the end you will not be hitting “replay” any time soon. This may seem a little obvious of a pick for Worst AOTY for anyone who is familiar with it, but there’s just no contest. Of all the albums I heard this year, there is no doubt that A2TC: AF/AR is the absolute worst.

Dishonorable mentions:

MeshuggahThe Violent Sleep of Reason

PixiesHead Carrier


Against Me!Shape Shift With Me


Post MaloneStoney

Jakob Ross is RDR’s 2016-2017 Music Director. Follow him on Twitter @jakobsross for more negative beliefs, random observations, and musical opinions.

Celebrate, celebrate: Holiday Mountain

New musicians are back, let’s dive in and straight up dig it. Holiday Mountain, anyone?


Holiday Mountain is a band that is completely out of the realm of genre. Synth pop fused with dubstep fused with the meaningful lyricism of soul? It’s trippy.
Which is not a bad thing, we need some more unique eclectic sounds in our lives. Based in Austin, Texas, Holiday Mountain dub themselves as musicians that push musical boundaries, mixing dances beats, unexpected melodies, and airy vocals.

And it’s true, they’re unconventional for sure.

Taking a look at their recently released EP You be You, Part 1, there is a lot going on that you almost wonder, and “How did they come up with this?”

Number one track off their EP “My Body” is so bizarre sounding with a mix of front woman Laura Patino half rapping her lyrics “Don’t need no hates/If you ain’t down, I’ll see you later,” to underlying synth beats and heavy percussion. This group does their own sound, and they make that known to you straight up coming to the album, regarding their unconventional sound.

But you come to get used to the way Holiday Mountain mixes their sound by the time you get to sweet tracks like “Slow Motion Things,” with tangy vocals, poignant instrumental riffs, and musical timing that ironically parallels the theme of the song.

There are funky beats, and there are rich vocals for sure. You’ve got hints of Diplo and M.I.A. with the electronic dance groove and hip hop influence, but Holiday Mountain does have one distinction.

Although their sound is crazy, the themes behind their lyricism are beautiful and empowering. With lyrics like “It’s my body/Don’t need no haters” and “Equal freedom for woman and man,” you can’t help but feel inspired regarding gender equality and female empowerment. Not something typical to normal synth-pop right?

My favorite track off the entire EP is “With You” (featuring Wild Child), and that isn’t due to just the slower tempo and more ethereal sounding vocals. It’s about self-love, but it’s also about love in general and the beautiful feelings that comes with love. There is a very airy feel to the entire track as Patino sings “With you, I am young/With you, I am free.” The layered vocals with the softer percussion and overlay of violin is beautiful. It’s a little hippie, with the underlying chorus and synth, but it’s a beautiful end to the EP, and makes you wistful for just a little bit more. 

It’s nice seeing the versatility of these musicians, purely because not everyone can necessarily automatically groove to Holiday Mountain’s aggressive dance jams. But at the same time, not everyone may not want to sit and mellow out to a more airy, acoustic tune either.

They’ve got a little bit of everything, and that’s what matter when they’re singing about themes of self-love, empowerment, and overall acceptance—something we can all relate to.

You Be You, Part 1, available here to jam to. Go groove.

Ariana Rivera