HOLIDAY KNICKSTAPE | 2024-12-21

As we’re typing this on 21st December, planet earth is celebrating its second ever World Basketball Day. A momentous and historic observance not only reflecting the global significance and impact of what is for all intents and purposes the fastest growing mainstream game, but also its power to unite people worldwide. Crucially, basketball is the first ever team sport to get such a UN recognition. At the time of writing, the 2024-25 NBA season has officially completed around a third (27-28) of its regular season games (82), which provides as good a round-up checkpoint as any to start drawing some insights about what to expect next year.

The New York Knicks, reinvigorated and with plenty of wind in their sail after the blockbuster summer trades of Karl-Anthony Towns aka KAT and Mikal Bridges—as well as a new-found blue collar captain hero in Jalen Brunson riding on the coattails of his explosion last year—are currently faring with an encouraging 17-10 record (.630%). This places the group in solitary third seed in the Eastern Conference, behind this year’s unlikely revelation Cleveland Cavaliers (24-4!), and the predicable arch enemy Boston Celtics at number two (21-6). After a perhaps slower and rockier start than most would’ve predicted through mid-November—rendering a below .500 record going into their 15th-17th November double header against town derby rivals Brooklyn Nets—coupled with struggling performances from the aforementioned Bridges as well as Josh Hart, the Knicks managed to course correcte over the subsequent thirty days.

Since those Nets games, Brunson and co. managed to win twelve out of the following sixteen match ups, including statement victories against the Phoenix Suns (122-138), the recent NBA champs Denver Nuggets (118-145), as well as two times versus fellow Eastern seed rivals Orlando Magic (106-121 and 91-100). Such performance tightening and renewed focus allowed them to climb into reputable top 10 league averages as a team in terms of points made per game (7th), points conceded per game (8th), as well as assists per game (9th). During the same time span, the Manhattan franchise also succeeded in winning its NBA Cup Group A in the East, with a perfect record (4-0), only to capitulate to the Atlanta Hawks in a disappointing loss at home in the quarterfinals (100-108).

Now, it’s prohibitive to assess whether these first two months of Knicks basketball are more encouraging or cautionary to fans. While it is true that at the end of December last year, coach Tom Thibodeau’s line-up had a more meager 17-15 winning record, it was also plagued by more intermittent injuries and, crucially, had not yet traded for franchise-changing small forward OG Anunoby. At the end of the regular season, thanks in no small part to their unprecedented January run (14-2), the The New York Knickerbockers saw fit to level up to a comparably robust .610%—not to mention their commendable playoff exploit reaching the Eastern Conference Semifinals for the second year in a row (ended by a surprising effort by the Indiana Pacers).

At this point in the year, pound for pound we should be somewhat content and satisfied with the team’s current trading—yet let’s be honest how many of us would have signed for a 43% average field goal percentage after a two-day rest before the season kicked off, knowing four out of our five starters (Brunson, KAT, Anunoby, and Bridges) carry legitimate All-Star ambitions this year? Any year? Lest we forget, in less than thirty games hitherto, the Knicks have managed to lose to the Hawks twice, the Houston Rockets, Chicago Bulls, as well as last year’s laughing stock Detroit Pistons. Not exactly playoff contenders if you asked your pedestrian NBA fan. Nonetheless, knowledgeable hoops pundits seem to keep emphasizing process over results with this team, yet somehow not without incongruously acting shy of the realization that anything less than the Easter Conference Finals would be considered a flat out disappointment, considering the squad assembled this year.

To run the appraisal a smidge deeper than surface-level analytics, let’s talk about Thibs’s six/seven-man rotation for a hot second. How much longer exactly does he, can we, think we can get away with it? Mikal Bridges—who mind you hasn’t missed a professional basketball game since high school!—is averaging 38.3 minutes on the floor per game, in cold DECEMBER. I guess if anyone was to bet on which season would break his streak, make it the one in which Tom Thibodeau coaches him… Unrestrained floor demon Josh Hart follows suit with 36.8 minutes played each game, followed by OG Anunoby (36.6), KAT (34.5), and finally Brunson (34.3). By comparison, Sixth Man of the Year-hopeful Miles McBride averages a virtual ten minutes of fewer playtime than Brunson (25.3), whereas the only other notable second unit subs Cam Payne and Jericho Sims can only dream about even reaching twenty minutes a game (Precious Achiuwa does have better odds, although he just came back from hamstring injury and has only played in six games so far).

*Knocks on wood*. Granted, key chessboard pawn Mitchell Robinson is still yet to announce any comeback horizon from his fastidious ankle woes, and in 20/20 hindsight we really did not need that Landry Shamet’s shoulder injury against the Hornets in pre-season. Yet Thibs’s propensity to play with fire is beyond us. Are Hukporti, Kolek, and Dadiet that not worth giving Bridges and Hart an additional 2-3 minutes of benchtime each game? This is probably a good time to switch gears and focus on the joyous and celebratory topic currently on each Knicks fan’s mind: Bodega KAT. The Big Bodega. That is, in less than two months, the former Minnesota Timberwolves power forward has unequivocally proven to be the real NBA unicorn, putting in a significantly higher incisiveness than even captain Jalen Brunson at this point in the season.

This brand of Karl-Anthony Towns #32 is not only a guaranteed All-Star and All-NBA pick, but a genuinely realistic Top 5 NBA player contender, eyeing that coveted MVP title at the end of the season. He is currently leading the big men league in total rebounds per game—14.2, a whooping 1.2 more than the second ranked tie Sabonis-Jokić—and ranks an impressive third overall in efficiency rating (33.3), behind, guess what, two former MVPs; the aforementioned Jokić (42) and Giannis Antetokounmpo (36.6). The latter stat is presently faring a remarkable ten metric points higher than his 2023-24 season-end index of 23.4, placing him 28th in the league. Similarly, scoring-wise, so far this season Bodega KAT is cutting it just outside of the NBA’s top 10, sporting 25 points a game on average, compared to his 21.8 points at the end of last season. In this regard, Robinson’s absence is a blessing in disguise for the 29-year-old Dominican-American, as it enables him to act as false center in Robinson’s stead—except in a more positionless way, allowing him to alternate spaced out three-pointers with ruthless pick and roll screens, courtesy of Jalen Brunson.

As we all look to cut loose over the holidays here in the Western hemisphere, we’re inevitably being ushered into calling some sort of prediction over how far these New York Knicks can really go this year, with such a mob of talented hoopers. People are pointing at this team and this season as the kind of Godsend alignment of stars—pun intended—that could set a whole Big Apple on fire, heightening the hype and embrace to a level the city only last experienced in the 90s. In actuality, that might just mean making it to a best-of-seven game series in the Easter Conference Finals. Current NBA champs Boston Celtics still remain a notch above the rest league-wise, while these Cavs do not show any wavering sign whatsoever approaching their thirtieth game this season. On the other side, the Oklahoma City Thunder of former Knick center Isaiah Hartenstein seem to have constructed the kind of defense that could checkmate KAT and Brunson, whereby Ja’s Grizzlies are hella rancid scary too. Process over results, folks. Process over results. To the chagrin of all feline delicatessen mascots in New York City.

We’d like to thank you sincerely for taking the time to read this and we hope to feel your interest again next time. And happy holidays this time around.

AV

ALEX REVIEWS MUSIC (ARM): ALBUMS OF THE YEAR 2024 | 2024-12-20

RYAN ADAMS — SWORD AND STONE & BLACKHOLE (PAX-AM)

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KANYE WEST & TY DOLLA $IGN — VULTURES 1 (¥Z¥)

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SCHOOLBOY Q — BLUE LIPS (TOP DAWG ENTERTAINMENT)

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GARY CLARK JR — JPEG RAW (WARNER RECORDS)

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PEARL JAM — DARK MATTER (REPUBLIC RECORDS)

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RAPSODY — PLEASE DON’T CRY (ROC NATION RECORDS)

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MACH-HOMMY — #RICHAXXHAITIAN (MACH-HOMMY INC)

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VINCE STAPLES — DARK TIMES (DEF JAM RECORDINGS)

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KAYTRANADA — TIMELESS (RCA RECORDS)

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ANDERSON .PAAK & KNXWLEDGE (NXWORRIES) — WHY LAWD? (STONES THROW RECORDS)

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LUPE FIASCO — SAMURAI (1ST & 15TH TOO)

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COMMON & PETE ROCK — THE AUDITORIUM, VOL. 1 (LOMA VISTA)

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DOECHII — ALLIGATOR BITES NEVER HEAL (TOP DAWG ENTERTAINMENT)

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LL COOL J — THE FORCE (LL COOL J INC)

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FEVER 333 — DARKER WHITE (333 WRECKORDS CREW)

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TYLER, THE CREATOR — CHROMAKOPIA (COLUMBIA RECORDS)

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FREDDIE GIBBS — YOU ONLY DIE 1NCE (AWAL)

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THE CURE — SONGS OF A LOST WORLD (POLYDOR RECORDS)

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LINKIN PARK — FROM ZERO (WARNER RECORDS)

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KENDRICK LAMAR — GNX (PGLANG)

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I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time. And happy holidays this time around.

AV

ALEX REVIEWS MUSIC (ARM): RYAN ADAMS – BLACKHOLE | 2024-12-07

Having recently celebrated half a century alive on this big fat rock, North Carolinian singer/songwriter Ryan Adams took it upon himself to bookend this sad, strange, beautiful year with the official release of his long-awaited, indefinitely-shelved cult item BLACKHOLE. After making good on the promise of his ultra-epic PaxAm album tetralogy this past New Year’s Day (seeing the simultaneous release of four new studio LPs: 1985, Sword & Stone, Heatwave, and Star Sign), on this recent 6th of December he completed the longtime coming dispatch of his lost 2005 studio gem. With its widespread digital release following a few weeks after the delivery of its physical formats, the sough-after collection came through as an 11-track record, clocking in at just about 35 minutes of runtime. This new album marks his THIRTIETH, 3-0, solo full length since the 2000 breakthrough exploit Heartbreaker.

Speaking of his smash debut project, the former Whiskeytown founder recently announced an ambitious world tour for 2025, celebrating 25 years since its release, and spanning nearly sixty dates across eight months of the calendar year (March through October). Adams appears to be enjoying keeping himself untenably busy, for he’s literally just concluded his own other acoustic solo tour of the US this fall, highlighting additional anniversaries of career standout LPs such as Love Is Hell (twenty years) and his Self-Titled (ten years). It’s just too bad that nearly no cuts off either album were actually played during his 3+ hour, 30-song setlist, having recently witnessed his final tour stop in person at New York’s Carnegie Hall.

Back to BLACKHOLE—with an oral history dating the initial writing sessions for it as far back as 2005, it’s safe to say that the record has not only had fans salivate for its release for nearly twenty years, but it has also long been lauded as his one true masterpiece by pockets of hardcore stans. To fan them flames, the 7-time Grammy Awards-nominated artist famously noted how BLACKHOLEtook 4 years to make […] and to me it is basically Love Is Hell, Pt. 3“, adding how ‘it’s like Love is Hell’s sister. In every way. In the most profound way. My most beautiful electric guitar: Johnny Marr-inspired guitar. It’s just all in there“. Now that the gift has been unwrapped, that is certainly not untrue. It’s also interesting though how sonically, this record does not feel out of place amidst the recent spat of consecutive releases, either (particularly when placed side-by-side with outings like Chris, FM, and Devolver)—lest one forgets, Ryan Adams has unveiled as many as sixteen different projects since his marvelously austere Wednesdays in late 2020.

Now, this realization certainly begs a question with one of two possible answers; i) either has BLACKHOLE been receiving some late-stage studio retooling and retouching (further corroborated by the apparent last-minute omission of previously announced deep cut “Disco Queen“, dropped on the cutting room floor), or ii) some of the projects he’s been releasing in the past couple years actually date back a few decades recording-wise. Truly and honestly, by virtue of both his relentless prolificness, and his endlessly deep catalog, either has merit and robust chances of being true. At the end of the day, it doesn’t quite matter, for BLACKHOLE is no ‘new music’ by any stretch of the imagination—yet future historians will look at the 6th of December 2024 as its birthdate, so we might as well treat it as such and give it a little appraisal.

Musically, albeit a tad bit more polished and sanitized compared to, say, the roughness of Heatwave, 1985, or his recent cover series trifecta, the record leans heavier on the dirty garagey-end of his catalog spectrum, as opposed to the sterilized grandeur of his major label-joint venture era of Prisoner and Big Colors. Of course, it’s still drenched in good ole chorus effects and magnitudes of reverb. While no lead single was announced as part of the roll out, the best songwriting at the core of these tunes is probably found on “Call Me Back“, “Starfire” (“Without leaving a trace / I watch her disappear / Come hold me in the rain / Come take away my fears“), and “Catherine“. Yet the most well-rounded and focused record of the bunch might just be “Tomorrowland“, at number nine on the tracklist—the way Adams renders some of his biggest influences in his own unique way, like The Replacements or Bruce Springsteen, typically so overtly worn on his sleeves, is simply gorgeous. Also, the carefulness and intention with which this cut is produced and engineered also have served as the album’s yardstick, yet many other tracks fell short of achieving that.

Elsewhere, opening jam “The Door” as well as “Help Us” and “Likening Love to War” on the front-end A-side of the disc, sound just like they stem right out of the Prisoner B-sides studio sessions—at the very least instrumentally. On account of the uncanny similarities, and by the same token as a result of the cleaner six-string arrangements, these three numbers tend to reverb a smidge out of place with the rest of BLACKHOLE. They do end up growing with each listen though; their sequencing at the beginning of the project undoubtedly helps them mould the auditory experience in their favor. “Just You Wait“, placed halfway through the record, is perhaps the most Love Is Hell-esque reference centerpiece, with its unhinged pen and self-destructive ennui (“It’s funny how she’s so fucked up, she has the nerve to judge somebody else so obviously pure / Listen up, it’s ok / Fuck em all / Be yourself / You know the good ones are always the freaks“). Start here if you’re a puritan and blind follower of the word in the Gospel of Adams, indeed hailing a Love Is Hell, Pt. 3.

To round the tracklist up, “For The Sun” at number seven strikes a fun balance between his mid-00s hit “This House Is Not for Sale” and something off Rock N Roll, whereas penultimate offering “Runaway” is in turn a much bigger, prettier, and immaculately produced bop, one that he should’ve handed over to The Killers instead? Yet, DRA decided to keep it, so this should’ve been the album outro—for the actual BLACKHOLE swan song, “When I Smile“, is just… weird. With its ostensibly upbeat and funky groove, paired with somewhat forgettable hive-mind surface-level lyrics (“All of the birds up in thе tees / All of these trees / All of these trees / They’re like birds“), how this song didn’t end up on freakin’ FM, or as a PaxAm-only vinyl-exclusive bonus track, simply beats us.

At the same time, it’s quite symptomatic and actually on-brand for the late-stage type of Ryan Adams we’re experiencing. And for BLACKHOLE as a project: it’s attractive, memorable, rough around its edges. But it answers no question unequivocally (except for that nope, this album isn’t his one true lost magnum opus). Which in turn might lend a dignified and honest nature to this collection of tracks—it’s earnest and sincere. It captures what the poet laureate legitimately felt. Perhaps it’s time we lost veneered expectations of who Ryan Adams the artist really is, and surrendered ourselves to the grip of the blackhole’s jaws.

We’d like to thank you sincerely for taking the time to read this and we hope to feel your interest again next time.

AV

RYAN ADAMS

BLACKHOLE

2024, PAXAM

https://ryanadamsofficial.com