video review: '÷ (divide)' by ed sheeran

So this is going to get a ton of hits... and I'm not all that surprised, it was a fun record to talk about.

But next up, another movie review, so stay tuned!

album review: '÷ (divide)' by ed sheeran

The more I listen to Ed Sheeran, the more I'm a little baffled that he is as big as he is, especially in the mainstream.

Now that's not a knock against Sheeran, believe it or not - on average, he's probably released more singles I like than otherwise, because while I was no big fan of 'Sing' or 'Thinking Out Loud' or 'Photograph', I did really come to love 'Don't' and 'Lego House', and that's not even counting his big two singles from his new album, both of which I'd argue are really good. But it's more than the songs at this point, because Ed Sheeran doesn't make a lot of sense as a pop star, especially in recent years, from his look and presentation to his voice to his content! For one he's an acoustic singer-songwriter who isn't really playing to gimmicks beyond an uncanny knack for skipping into R&B and soul and blues and sticking the landing, and for another, his songs have the sort of distinctive detail and character that if anything show more of an auteur voice than a lot of modern pop. And that details matters, because Ed Sheeran is not writing about wealth and success - his stories are often small-scale and character-driven, with messy human framing and a lot of alcohol abuse - he'd be very much at home in the mid-90s adult alternative scene, which is a little bizarre to hear in 2017. Sure, he'll write the boring songs that'll make the young girls cry - he knows what pays the mortgage - but I'm far more interested in the Ed Sheeran that writes 'Don't' or 'Castle On The Hill' or the absolutely stunning 'Afire Love', which to this day remains one of my favourite songs of 2014. And it's amusing to me that Taylor Swift was one of the big forces to propelling Ed Sheeran to popularity around 2013, given that in the beginning she may have tried for populist authenticity and framing but never showed the courage to get raw or real outside of 'Back To December', so where she retreated into pop artifice, for Sheeran it all feels on the table - that's what gives it bite. 

As such, I was very interested in his next album ÷, which has been getting some interesting reviews, with the critical line seeming to hang on whether you buy into Sheeran's authenticity, especially in the detail of his stories. Whether or not that's fair is a different question - I have the suspicion if Sheeran was just any other indie folk songwriter nobody would care to ask - but given that authenticity is a pretty key factor to the emotional throughline of Sheeran's stories, it was always going to be a question. For me, it all came in the execution, and I had reason to hope this would click, so what did we get with ÷?

video review: 'honest life' by courtney marie andrews

...honestly, for as much time as I gave this record, I wish it was better, but eh, it happens.

Next up, though... man, I've been waiting to talk about this for a minute, really looking forward to this. Stay tuned!

album review: 'honest life' by courtney marie andrews

So this has been entirely too long in coming... and yet it's almost fitting that we'd round out the end of the year with a record I had every expectation would be great. Hell, in a year full of strong country, especially in the indie scene, especially leaning towards folk, and especially coming from incredibly sharp female singer-songwriters, it's almost karmic that we circle back to a record like this for the end of the year.

And I had every expectation that this album would be great. In my research I couldn't find copies of Courtney Marie Andrews' entire discography, but what I did find was heartfelt, organic, melodic, and with a plainspoken power that was hard to deny... and yet the most some would every recognize her for was background work she did with Ryan Adams and Jimmy Eat World of all people. Of course, her voice is distinctive enough that she'd be recognizable even there - a lilting, slightly deeper and huskier voice that reminded me a little of Joni Mitchell or maybe Joanna Newsom early on before her tones got richer with age. And with this being her first record since 2013 and with the considerable amount of critical acclaim it has received, I had every expectation and hope that this album would be excellent at the very least - so was I right?

video review: 'dear life' by high valley

And this record was a ton of fun. Man, it's not smart at all, but at some point it doesn't need to be to kick ass, and this is a prime example.

Next up... probably Courtney Marie Andrews if my schedule holds, so we'll see here. Stay tuned!

album review: 'dear life' by high valley

So it's been a while since I've talked about Canadian country music - which yes, is a thing and I'm still a little bewildered why people act so surprised when I mention that. Folks, we have open plains, the Boots N' Hearts festival and the Calgary stampede - it might be a very regional thing up here, but we do have a big market for country music.

But just like the rest of Canadian music, Canadian country is a little different. It's probably best to see it as a similar ecosystem to Texas country in comparison with Nashville - we might import a fair bit, but there are some unique traditions and sounds that we've cultivated up here. For one, there's more of a balance, as Canadian country didn't just embrace bro-country outside of a few artists. We kept something of our neotraditional scene alive, the country rock scene flourishes about as much as the rest of rock in Canada - in other words, better than you'd expect - and of course we've got our own indie country material. Hell, I reviewed Lucette back in 2014, and her last album was a prime example of that sort of folk-touched sound that we also saw with the excellent case/lang/veirs project this year - in comparison with more American folk it's a little more atmospheric and spacious and rough-edged.

Of course, there are exceptions to that rule, and that takes us to High Valley, a duo of brothers from Blumenort, Alberta, and I've actually talked about them before when I discussed their breakout single 'Make You Mine' in my roundup of the Canadian Hot 100 last year. Now they've actually been active since the late 2000s on independent labels, but the success of that single - featuring Ricky Skaggs and which has been tacked onto the American release of this album, which I'll be covering - was enough to land them on Atlantic, with the majority of the songs cowritten by the duo themselves. And look, it's hard not to see labels preparing to pitch them as an earthier, less-polished version of Florida Georgia Line, but I had hope these guys could clean up with some great harmonies to boot, especially given how good 'Make You Mine' is. So was I right?

video review: 'guardians' by saor

So this record was goddamn amazing - seriously, I'm so happy I got a chance to cover this early, SO damn great.

In the mean time though... I'm thinking Kungs and Phantogram before the big week we've got ahead, so stay tuned!

album review: 'guardians' by saor

Okay, the last time I was aiming to talk about black metal with In The Woods..., I got thrown a curveball, namely by the fact that record only barely stuck its toes in that genre while instead embracing more progressive and doom metal touches. But that didn't mean I was going to stop looking, and thanks to you all, I got a wealth of suggestions to work with to catch up for 2016.

So on that note, let's talk about Saor, a Scottish black metal project that erupted out of the highlands in 2013 with their debut Roots, reportedly aiming for a blend of atmospheric black metal with touches reminiscent of Celtic folk. And hell, that seemed like the easiest way to get me on board since Panopticon brought in elements of country and bluegrass for that last trilogy of records, the last of which Autumn Eternal landed on my list of my favourite albums of 2015. So I was all set to like Saor... and unsurprisingly, I really did come to enjoy a lot of what I heard from both Roots and their 2014 album Aura, which balanced the relentless blur of tremolo picking with flutes, brighter acoustics, and a defiant soaring Celtic flavor in the melody lines. Now let me stress that I don't really think either record is better than Panopticon's trilogy - for as much as I loved the melody lines, the actual mixing of the black metal riffing and blast beats could feel a little sloppy, not quite always supporting the dramatic swell the way I'd like - but hey, this is a sound I'd like to see expand and if fine-tuning the details could get there, I had hope that Saor could really bring it on their release this year Guardians - was I right?

video review: 'joanne' by lady gaga

Man, I wish I liked this album a lot more... frustrating, because I know the backlash to this episode will probably be pretty intense. Lovely.

Either way, I've got D.R.A.M. and NxWorries up soon, along with Billboard BREAKDOWN, so stay tuned!

album review: 'joanne' by lady gaga

I remember when it seemed like for a few brief years, Lady Gaga was the biggest person in pop. She might not have had the most hits or the most critical acclaim, but she sparked conversation by her very presence and how 'weird' and crazy she was.

And here's the thing: she really wasn't all that crazy, even with all the ridiculous rhetoric and outfits. I'm going to make a comparison that at first thought might not seem to make any sense: Lady Gaga reminds me a lot of Eric Church, the maverick country artist who remained within the mainstream but in recent years also built something of a reputation on being 'weird' that's proved hit-and-miss. And again, at least to me it doesn't seem that weird or strange for either of them, mostly because I get their type: they're music nerds, the type of people who study and examine music with an obsessive intensity that tends to alienate the mainstream. Both worked insanely hard at their craft, both wanted to be larger than life and worshiped icons like Springsteen who could pull it off, both were unafraid to cross and blend genres in ways that could be famously messy but nearly always unique, and at their very worst, both made a lot of music that was self-referential to the point of disappearing up their own ass. For Eric Church it was his 2014 record The Outsiders, but for as much as I dislike that album, it wasn't all self-focused myth-making, and he alleviated a lot of that sting by following it with Mr. Misunderstood a year later.

Gaga, on the other hand, made ARTPOP. And look, I don't hate that record nearly as much as some people do - all of her work has been messy, with The Fame Monster being her most consistently strong record, but there have always been some stunning songs along the way. But ARTPOP remains her weakest record, for in trying to commercialize the art aesthetic without capturing the populism or avant-garde experimentation that could have given the album flair, it wound up trying to make more of a statement with attitude than content, and it didn't really get all the way there, not helped by hooks and writing that were far from her best. 

And so ARTPOP disappeared down the collective memory hole of pop fans, Lady Gaga went on to American Horror Story and an album of covers with Tony Bennett and wrote a song that should have won her an Oscar, and now she's finally back with Joanne. From what I had heard of the singles and writing, I was getting the impression this could very well be her Mr. Misunderstood, a tighter refocus on her core strengths as a tremendous performer and artist in her own right. And believe me, folks, I wanted this to be good: I didn't love 'Perfect Illusion' or 'Million Reasons' but 2016 in mainstream pop has sucked so badly that I had to hope Lady Gaga would pull something powerful together, right?

video review: 'the bird & the rifle' by lori mckenna

So this record was downright amazing. Easily one of the best of the year (and of a pretty bleak summer that we've had), ridiculously solid and well-written work here from a long-time veteran who deserves a lot more acclaim.

In any case, you all know what's coming next... stay tuned!

album review: 'the bird & the rifle' by lori mckenna

So a week or so back Billboard hosted a round table of female country artists and the current frustrations they have dealing with country radio's inability to get them on the air. This has been an ugly situation that I've discussed before at length during the height of bro-country, but even now little has changed outside of isolated moments of success, where b- and c-list male acts can snag airplay and festival stages while leaving their female counterparts high and dry. This hit an apex in 2015 with 'Tomato-gate', when radio consultant Keith Hill compared women in country to 'tomatoes in the salad' - and yet a year later outside of isolated moments, little has changed. Kacey Musgraves and Cam both stalled out on the radio despite great singles, and though Maren Morris' 'My Church' was a hit, I don't see that follow-up coming. Then you have Kelsea Ballerini's lack of concern about all of it... well, we'll see if that changes when 'Peter Pan' starts to dry up, and that's speaking from someone who likes that song!

And yet that roundtable had an undercurrent of optimism that things were going to get better - and I'd argue they're right, but I wouldn't say any of them were leading the charge. With the exception of fringe indie artists like Dori Freeman who deserve a lot more attention, 2016 has had a slew of strong albums from women, specifically older women like Brandy Clark and Jennifer Nettles who are releasing strong solo projects in their forties. And to add to that mix comes Lori McKenna, a songwriter who has been working behind the scenes for decades but recently received praise for her work behind Little Big Town's 'Girl Crush' and Tim McGraw's 'Humble And Kind'. And yet indie country fans know that she's been releasing critically acclaimed records since 2000 with a distinctive folk-touched vocal tone and the sort of sharply incisive songwriting that isn't afraid to pull punches. She actually did release an album called Unglamorous on Warner Bros in 2007 in the height of a small boom for women in country - and for the record, that record has aged incredibly well and does indeed hold up, but the production was far too slick to match her writing, and I don't have any problem believing it got lost in the crowd. So she went right back to the indie scene where country and folk blended a little more easily and four years later in 2011 dropped a borderline classic with Lorraine - seriously, if you're looking for the three records to get a full picture for Lori McKenna, it's 2004's Bittertown, 2007's Unglamorous, and 2011's Lorraine. Hell, you could argue that the reason her following two records, 2012's Massachusetts and 2014's Numbered Doors, didn't quite leave the same impact is what they had to follow, although in both cases you could make the argument the songwriting didn't quite cut as sharply as the best hits of either record.

And yet with the success of 'Girl Crush' and 'Humble And Kind', Lori McKenna now has more momentum than she's had in probably a decade, so she connected with Dave Cobb and put out a new record called The Bird & The Rifle - and yes, I know I'm late to the party here, but I knew after going through her entire discography I had to cover this. So does it live up to my high expectations?

video review: 'love & hate' by michael kiwanuka

So believe it or not, I'm expecting to get a ton of hatred for this review. This is, after all, one of the most critically acclaimed records of the year... and I think it's just solid, not great. Eh, we'll see.

Next up, Uncommon Nasa and Short Fuze, and then I can finally dig into that Mark Chesnutt record, so stay tuned!

album review: 'love & hate' by michael kiwanuka

So there's a term that's become popular in the online music critic scene, particularly on YouTube. Coined by one Todd Nathanson, it's one that's attracted a fair amount of attention, expansion, and detractors, one that I've even coined myself: the 'white guy with acoustic guitar' genre. It's a bit of a nebulous term - because obviously not all white guys with acoustic guitars make bad music, look at Mark Kozalek or James McMurtry - but it typically is used to describe a certain sort of gutless, edgeless, artless pretension that's perfect for scoring your average listless summer barbecue that wouldn't dare to threaten or challenge anybody. And given that most of this music tends to make my skin crawl, I have no problem whatsoever disparaging this type of music, not just for the often below-average songwriting and guitarwork, but more for the attitudes beneath the music - I elevate artists like Kozalek and McMurtry above this term because they're trying to make artistic statements, whereas stereotypical white guys with acoustic guitars make music in order to pick up chicks or put up a forefront of depth that isn't there.

But I'll also admit it's a narrow term, and it's by no means limited to white guys, so what about black guys with acoustic guitars? Well, you're going to find far fewer examples in this subgenre, but there are a few - Darius Rucker, former frontman of Hootie & The Blowfish immediately springs to mind, and it's definitely a fair comparison. But when you consider Michael Kiwanuka, I would definitely hesitate to assign that label, mostly because he seems to play in an entirely different ballpark, even if on the surface some people might be inclined to use the label. For those who don't know, Kiwanuka is a British singer-songwriter who got his start as a session player before his breakthrough in 2012 with his debut album Home Again, which definitely had its warm folk touches and a fair amount of acoustic guitar, but tended to play more towards old school soul touches with the organ and slightly rougher production. But at the same time, as much as I liked his delivery the writing wasn't always stellar - and to be fair, good soul doesn't always need brilliant lyrics, but it feel thin at points, enough that I could see why people at first glance might assign that the label, or at least consider him a bit of a throwback. But he didn't seem willing to accept that, so recruiting Danger Mouse and fellow UK producer Inflo, he dropped his sophomore album Love & Hate that on the surface looked to be getting more conscious and develop more lyrical bite. So after I caught some strong singles, I figured I dig into this: was it worth it?

video review: 'autumn eternal' by panopticon

Man, I'm so thrilled I was able to finally cover this. Such a great record, definitely has me enthused to check out more black metal in the future, that's for damn sure.

Next up, Arca and Freddie Gibbs, so stay tuned!

album review: 'autumn eternal' by panopticon

So one of the things I've discovered in my expanding exploration of atmospheric black metal is that while there's a pitch-black core of explosive tremolo picking and blast beat drumming to complement the the howled vocals, there have always been efforts to mutate or expand the sound. By now most people know how Deafheaven drew on shoegaze and emo, but they weren't the first to draw forth more atmospheric textures, like the ambient sounds of Wolves In The Throne Room or the more blatantly pagan and progressive touches of In The Woods... So what if I were to tell you about an American black metal project that didn't just blend in folk, but bluegrass as well?

Because in theory it's not as far removed as you might think. After all, the fast-picked tremolo melodies aren't that far from the quick picks of a banjo - the key would be finding the right subject matter. And like most, when I heard about the one-man black metal project of American musician Austin Lunn called Panopticon, I decided to dive in at the 2012 album Kentucky... and wow, I was glad I did, because this is something special. What immediately struck me about Kentucky was on a conceptual and lyrical level how much it worked - a ramshackle presentation delving into the desperate poverty and bleak devastation of backwater rural Appalachia, ravaged by a flailing and heartless coal industry, damn near perfect themes for a black metal project. Now in execution it didn't quite land as well - as much as I dug the bluegrass and country touches, especially with the vocal snippets, the transitions always felt a little clumsy and I found myself underwhelmed by some of the black metal compositions themselves. Thankfully, much of this was cleaned up two years later for the frigid and excellent Roads To The North, which brought in some symphonic touches with strings, great drumwork, and great atmosphere. What was also interesting was the shift in mood - where Kentucky was more immediately abrasive and confrontational, Roads To The North was more contemplative and wild, finding a certain tranquillity in the frozen heart of the wild. Where bands like Immortal and Satyricon wrote about Scandinavia, Austin Lunn was writing about the rugged American wilderness, with the more eclectic instrumentation only adding to the authenticity. I'll be straight with you - if I had covered Roads To The North last year when it was released - it might have had a very real shot at making my year end list.

So you can bet I was going to be checking out his newest record Autumn Eternal, apparently intended as the conclusion of a trilogy with Kentucky and Roads To The North and with more straightforward black metal - what did we get?

video review: 'divers' by joanna newsom

Man, this album took a lot to untangle, but it was definitely worth it. Highly recommended.

Next up... you know, that M.E.D., Blu, and Madlib record looks interesting, but I still have a bit of old business I want to handle... well, we'll see. Stay tuned!

album review: 'divers' by joanna newsom

I've been hesitant to cover this record.

Hell, I've been hesitant to cover Joanna Newsom in general, who I knew more by reputation than anything else before I started doing my research for this review. I knew she had one of the most idiosyncratic voices in folk music - a bit like a cross between Bjork and Sia but more rounded and warm - and I knew she had amassed a lot of critical acclaim for her vibrantly detailed, excellently witty songwriting that probably runs as close to twee as I'd ever tolerate... except for the fact that she also happens to be an incredibly gifted composer utilizing her harp and a lot of gorgeously rich instrumentation to compose layered, gorgeously polyrhythmic songs drenched in English and Celtic folk.

Now the majority of this is right up my alley, and thus when I finally started listening through The Milk-Eyed Mender, I did find a lot to like, even despite a few minor missteps when it came to instrumental tones that clashes Newsom's unique vocals. Then came Ys... and on the one hand, I liked the more opulent orchestration for how well it could match the dramatic swell of the writing and Newsom's more strident tones, but there was a part of me that missed the quieter, funnier witticisms that ran through her more stripped back material. The album started to pick up the feel of meandering pastoral indulgence, focusing more on intricate detail instead of the overall whole, which seemed to reach critical mass on the triple album Have One On Me that she released in 2010. And here's the thing: yes, over two hours of music can be long, but it's one of those releases that really works better considering each disc as an individual release with its own musical motifs and underlying themes, and really, they don't feel as long as you'd think, especially if you're poring through the lyrics at the same time. That said, I do understand why some think the quieter second disc can drag a bit, especially compared to the more elaborate instrumentation of the first and the slightly brighter tones of the third. And when I heard that Joanna Newsom was pursuing even more elaborate, layered instrumentation on her newest album this year... well, I was interested. At the very least, it'd probably sound beautiful and be a rewarding exercise in poetry, so I dove into Divers - what did I find?

video review: 'stories' by avicii

Well this was a surprisingly fun review to put together. Surprisingly easy too, but that can happen.

Next up... hmm, not really sure. Long weekend up ahead, and I want to make sure I make the best of it. So probably Julia Holter and The Dead Weather, but then there's The Game and Frankmusik and I should probably talk about Deafheaven if only to get it out of the way... eh, we'll see. Stay tuned!

album review: 'stories' by avicii

Of all the electronic producers I've covered in the mainstream, both in full-length reviews and on Billboard BREAKDOWN, Avicii is one that continues to frustrate me.

See, those of you who have followed me for a long time know that I wasn't too kind to his debut album TRUE, not a bad record but ultimately an experiment that landed steadily decreasing dividends throughout its runtime in attempting to fuse folk with accessible EDM. And yet many of you probably know that two Avicii songs have landed on my year-end lists for my favourite hit songs of 2013 and 2014 with 'Wake Me Up!' and 'Hey Brother'. And the stranger thing is that I'll stand behind both of those choices even though I'd still argue that TRUE was only ever a decent album.

And here the crux of that argument: Avicii is the sort of artist who has a great grasp on the fundamentals and the broad strokes of his experimentation, but can get stuck on the details, which is why the folk sections of that debut album ended up working better than any of the electronic segments. Sure, he's a strong melodic composer in putting together dynamic, surging progressions and marrying them with well-textured guitars and banjos and solid acoustic grooves... but the second he starts adding in thicker beats or percussion, things kind of go off the rails. Hell, he's not even a bad lyricist - all of which makes me think Avicii might be a better songwriter than producer and performer - but I can't help but see the irony in an electronic producer who blended folk in and made it work, except in the underlying electronic production itself!

But that was 2013, and let's face it, the EDM world has changed significantly in even just the past two years. The leftovers of the folk boom that Avicii was riding is now long dead and most modern EDM has gone to the deep house or R&B/neo-soul route - that'd be your Calvin Harris - or suffered badly for it, like Zedd. Where does Avicii fall with his sophomore release Stories?