video review: 'dark energy' by jlin

This review took way too long to really unpack, believe it or not. Complicated album, lot to say.

Next up, I've got to talk about Halestorm, because this... yeah, this isn't good...

album review: 'dark energy' by jlin

So as I said over this past week, it seems like the theme has been delving into musical genres and styles that are outside of my typical experience. And if that's really the case... whoo boy, we've got one for today from a genre that I've touched, but rarely explored in depth.

Yep, this time we're going to be talking about house music - and given its ubiquity, I'd be surprised if anybody couldn't recognize the sounds. Born in Chicago in the very early 80s as dance music returned to the underground, it would eventually pop up in scattered moments of popularity across the world, especially in the UK and especially in the early 90s. Or more specifically, especially over the course of the past couple of years, with the explosion of house-inspired EDM at the turn of the decade and the explosion of deep house last year. And like most house music trends, it always seems to be mutating too fast for most critics to catch up.

So when I started hearing about the newest Chicago-driven sound, nebulously defined as 'footwork', I was at least curious to find out what it was - only to discover that the term is something of a misnomer, more referring to a specific type of scene that included fast-paced dancing against some of the most aggressive house tracks you'd ever hear. I also discovered that like most house genres, it's been around since the 80s, most supported by DJ Rashad, and seems to be now making its comeback against the lethargic tones of deep house. Enter Jlin - affiliated with English electronic label Planet Mu, and initially sparking interest in the scene with the single 'Erotic Heart' back in 2011, her rise to releasing a debut album has won her a lot of critical acclaim and conversation, particularly for her near-complete absence of samples outside of vocal snippets. Regardless, given my general ambivalence towards chunks of deep house, I figured maybe something with a little more aggression and anger might work better, so I dove deep into Jlin's debut album Dark Energy - what did we get?

video review: 'globalization' by pitbull

Man, this was a welcome shift.

Okay, I might tackle one of the albums I missed way earlier this year... stay tuned!

album review: 'globalization' by pitbull

I'm a little surprised I haven't done a full-length review of any of Pitbull's albums, or really given an opinion on him besides just in passing. Let's change that, shall we?

So, Pitbull. Miami-based rapper, started off in the southern crunk scene of the mid-2000s, he really hit it big during the club boom of the late-2000s, able to transition his limited wordplay with just enough charisma to take on the role of the club VIP. And for a while, Pitbull's continued success was mystifying to me, because not only was he racking up a respectable number of hits, he was also simultaneously restarting the careers of Latin stars like Enrique Iglesias, Jennifer Lopez, and even Marc Anthony. And that's not counting hits he got with T-Pain, Chris Brown, Christina Aguliera, Usher, Ne-Yo, Ke$ha, the list goes on! Pitbull was like The Game of pop and EDM-flavoured hip-hop, the majority of his hits were on collaborations. And yet his lyrical content was so thin and interchangeable between track to track that it was baffling that he had managed to stick around even despite the complete implosion of the club boom.

Well here's the funny thing - I've actually been to a Pitbull show when he was on tour with Ke$ha - surprise surprise, he's actually pretty good live despite the majority of his collaborators not being with him - and I noticed something about his audience: they were usually older or European. And then his chart longevity started making a little more sense. Say what you will about Pitbull, but he does have charisma and a unique presence, and since he's so thoroughly entrenched in his own lane and is thoroughly bilingual, and one of his most distinctive lyrical traits is his love of travel, it makes sense he'd attract that kind of audience, who likely wouldn't be as fickle as a younger, more trend-following fanbase.

So okay, I get why he's stuck around, but does that make his material any good? Well for me, he's hit-and-miss, as he doesn't really compose album statements beyond heaps of radio-ready singles. So with that in mind, I figured it could be interesting to check out his newest record titled Globalization. What did we get?

video review: 'broke with expensive taste' by azealia banks

Well, that was the unscheduled review, shame it wasn't better. Now back to my schedule with Foo Fighters next. Stay tuned!

album review: 'broke with expensive taste' by azealia banks

Okay, normally when I get requests, it's pretty scattershot. I get a few for upcoming records I'm obviously going to cover because they're so big it'd be insane for me to ignore them, I get a few for offbeat oddities that I might check out if I find them interesting, and of course I get the requests for records that came out two years ago and weren't particularly well received even then. Let me clarify something about my schedule - with every artist I cover, I endeavour to assemble a full and fair picture, which means going through their past discography to get some historical context - which means that in addition to covering the album and listening to it multiple times, I'm also backtracking through history, either for the first time or just to get back up to speed. In other words, a lot of time and work goes into my schedule, and I can't cover everything, no matter how hard I try, and even my year-end catch-up of albums won't snag everything.

And yet, when I get a wave of requests for an album where nearly the only comments are asking for one specific debut record, I take notice. And the more they poured in, the less they made sense. I had heard the name Azealia Banks before for a strong EP and mixtape she dropped back in 2012, but since then her buzz has been less from her music and more from feuds with fellow musicians like Angel Haze and Baauer and from asinine remarks she made at tabloid fixtures like Perez Hilton. It didn't help that there had apparently been label problems that led her to getting dropped from Universal and this album being delayed extensively. So with little-to-no promotion and following in the footsteps of her idol Beyonce, Azealia Banks released her debut out of nowhere and I started getting requests to cover it. On the one hand, she probably couldn't have picked a better time - with the biggest charting names in pop rap being Nicki Minaj and Iggy Azalea, this is a better time to be a woman in hip-hop for a long time. On the other hand, I wasn't exactly sure what I was stepping into with Broke With Expensive Taste, and I remembered what happened with Angel Haze's Dirty Gold very early this year, a record that really was a complete non-starter even though it did have songs with commercial appeal. So what are we getting from Azealia Banks?

video review: 'a town called paradise' by tiësto

Well, glad I got a chance to handle this - only wish it had been better.

Next up is Ab-Soul, so stay tuned!

album review: 'a town called paradise' by tiësto

So here's something you might not know about me: I listen to a lot of trance.

See, there was a brief period for me in around 2009-2010 that I started delving into this melodic brand of EDM, mostly out of a desire to find out was else was in this musical landscape beyond drum & bass, dubstep, and my appreciation for The Chemical Brothers. And with its melodic focus, mid-tempo energy, and sweeping production, I came to like a lot of trance music and listen to a decent bit even today.

So why haven't you seen me review many, if any, trance records? Well, you could put it down to an overloaded schedule and the fact that I still struggle somewhat with reviews of instrumental albums, but the truth of it is that I just drifted away from the genre. A lot of modern trance got more glitchy and staccato and began co-opting elements that took away from the soaring, melody driven trance I tend to like. What's kind of hilarious in hindsight was that even as I was moving away from that particular brand of EDM, the larger genre in general was moving towards the mainstream faster than ever with the success of house DJs, the rise of dubstep, and the general acceptance of EDM on this side of the Atlantic.

So with that in mind, let's talk about Tiesto, who started releasing trance albums in the early 2000s before drifting into darker, electro-house territory, which culminated in his 2010 release Kaleidoscope. The funny thing with that record was that you could see the shift towards a more pop-friendly sound already in the works, with shorter, more conventionally structured songs, and the biggest arsenal of vocal collaborators outside of an Armin van Buuren album. So when I started to see Tiesto songs cropping up on the lower ends of the Billboard Hot 100 chart his year, I wasn't exactly surprised - with EDM becoming more mainstream, it wasn't a surprise that those that would crossover first would be the most accessible to a pop audience, not to mention to a critic who has difficulty reviewing EDM. So on that note alone, I figured I'd give A Town Called Paradise by Tiesto a look - how did it turn out?