album review: 'this is... icona pop' by icona pop

So, approximately six months ago, back before I was regularly doing these reviews for every album that came underneath my nose and browsing Pitchfork for the ones that slipped the net, I heard a song on the radio that had apparently been connected with Snooki and JWOW's spin-off show and had yet received critical approval from a certain majority of critics. And considering those two facts are rather disingenuously paired together, I took a deeper look at the song and discovered that it was called 'I Love It' by Icona Pop, featuring Charli XCX. To be completely honest, at that time I wasn't a big fan of the song, mostly because it sounded like fuzz-saturated house music with ephemeral lyrics and maybe one clever line, but I discovered that the song had been a big enough hit to help propel Charli XCX's debut album True Romance out of development hell and I figured that I might as well give it a look. And I actually did review that album and found it rather lacking, a expansive and well-produced darkwave-inspired album that threw out the hooks, the interesting lyrics, or absolutely anything compelling courtesy of Charli XCX. It was thoroughly below average, and outside of rave reviews that made no sense to me (seriously, for the most part the lyrics were completely worthless and Charli XCX either sounded vapid or too disconnected to care), I've spent the larger part of this year forgetting it existed.

Now 'I Love It', on the other hand, stuck around a little longer in my mind, mostly because the pop charts for this year have absolutely sucked. Compare this year to 2012, which had songs that at least seemed to have some staying power in the popular consciousness ('Gangnam Style', 'Call Me Maybe', 'Some Nights', I could go on), and you'll see charts that have no idea what style or genre is popular and thus a whole lot of junk (often really boring junk) rose to the top. So perhaps it was the benefit of lower standards that caused me to warm to 'I Love It', but then again, I can't deny it does have certain merits: the dual voices give it some real populist appeal, it has a lot of energy to match the crackling instrumentation, and the sheer wild abandon of the song, particularly in the bridge, is definitely infectious.

So on those qualities, I figured what the hell and I picked up the international debut album from Icona Pop. How did it turn out?

video review: 'nothing was the same' by drake

Yeah, I can't imagine this review will have the slightest iota of controversy whatsoever...

Eh, even reflecting on the album after relistening, writing, and filming this review, I think I stand by my opinion. Next up will either be Chvrches or Icona Pop, so stay tuned!

album review: 'nothing was the same' by drake

Okay, time for a bit of disclosure: I live in Toronto, Canada. To quickly get over this part, I don't care about the Blue Jays or the Leafs - I didn't grow up in Toronto so neither was a favourite for me growing up. I've only been living in the city for about a year, and there's one thing I've noticed about this town that I find both perplexing and somewhat hilarious: this city wants to be the Canadian version of New York so bad it hurts. I swear, there are whole neighborhoods, particularly downtown, that are trying to replicate some of that NYC experience. And yet, since this is Canada, there always seems to be something of an underlying insecurity, a fragment of perspective and self-awareness that informs us in the back of our minds that no matter how hard we want to be New York, we aren't New York. 

And when I look at Drake as a hip-hop R&B act, I see a lot of that same self-awareness, at least in regards to his fame. While I've never been the biggest fan of Drake on anything he's done, he does seem to have a certain degree of perspective, particularly when it comes to the fleeting nature of fame. He knows that his time in the spotlight has an expiration date - and what becomes interesting is that self-awareness has leaked many times into his art. A lot of critics have considered it a very 'Canadian' sensibility, and I kind of buy that: there has been something of a lack of ego that can feel resonant throughout Drake's work that does reflect a view that's counter-intuitive to the majority of rappers south of the border; and whenever he does brag, it can come across as very hollow and empty.

This, if anything, was both one of the great strengths and great weaknesses of Take Care, Drake's critically acclaimed second album of which I wasn't much of a fan. It popularized a certain bleakness in modern hip-hop (which has had mixed-to-negative results in my opinion) and while it fit the more subversive and intellectual songs on the album, it really didn't fit the tracks where Drake and his collaborators were trying to prove they were unironically awesome. On top of that, the traditionally 'Canadian' sensibilities of his instrumentation and production - atmospheric, sweeping, kind of pretentious to the point of reaching tedium - didn't always pay dividends. It was rather analogous to some common criticisms of Canadian art films, interestingly: Take Care might have had things to say, but it was bleak, depressing, somewhat pretentious, and at points very boring. And as much as I like Drake - and I do - this lack of energy was a bad fit for him because it didn't play to all of his strengths, namely his rich, emotionally compelling vocal delivery and one of the reasons I think he'd be a great R&B singer if he chose to ditch rap entirely. 

But that being said, I was mildly impressed with Drake's verse on 'No Guns Allowed' from Snoop Lion's album earlier this year, and I was curious to see what he'd deliver on his new album Nothing Was The Same. Is it an improvement on Take Care?

video review: 'alive' by jessie j

Man, this took way too long to get online. In any case, here's the new video talking about Jessie J, and the first of the last heavy wave of September releases. It's going to get crazy here, folks, stay tuned!

album review: 'alive' by jessie j

It really sucks to be branded a wannabe, particularly when it's not fair.

That's always been the thought that's played in my head whenever I think about Jessie J, who many critics very early on branded as a Katy Perry wannabe, and which I've always considered patently unfair. To this day, I still have a hard time understanding why Katy Perry got incredibly popular and Jessie J has not, and in the end have been forced to concede that it's thanks to Dr. Luke's gift for writing catchy hooks and good melodies for Miss Perry - because, let me tell you, it sure as hell wasn't for her live vocals or superb lyrics or strikingly original personality!

Jessie J, on the other hand, while she has worked with Max Martin and Dr. Luke, also takes a major hand in writing her own material and, unlike Katy Perry, has a personality and great voice away from the Autotune. Coupled with her real feistiness and her desire to connect with her fanbase, I've got a ton of respect for Jessie J and I genuinely like her music. Hell, I nearly put 'Domino', her big hit from early last year, on my year-end list of the Top Ten Best Hit Songs of 2012! I want her to be more in the modern pop landscape than the UK's version of Katy Perry, and I seriously think she's capable of getting there.

So, the question that I've always pondered is why doesn't Jessie J stick out more than she does already? Working the middle ground between Katy Perry and Pink, I've liked Jessie J's songwriting for the most part, but I suspect if I were to get a little closer on my issues with her, some of them might come down to the fact that she doesn't quite do enough to stand out from the pack on either a songwriting or instrumental basis. Sure, she's got some odd lines in her songs, but this is 2013, you can almost expect the weird, off-kilter lines in music these days. No, to me I think if Jessie J wants to distinguish herself, it'll have to come from the instrumentation, perhaps following along the line of Ke$ha and Natalia Kills going towards a rock style, or perhaps returning to the classier R&B of her roots. 

So, what do we see from Jessie J's sophomore effort, Alive?

video review: 'tattoos' by jason derulo

Damn, it's late. Had to rerender and reupload after I left one of my audio cues at the beginning of the video, and now I'm exhausted. But at least it's here, and I stand by the fact that this might be one of my better ones.

And now the rest of the week will be absolutely nuts. First up is Jessie J. Stay tuned, folks!

album review: 'tattoos' by jason derulo

The year is 2009, and you're a record executive, and you're staring down at your newspaper with pictures of Rihanna's bloodied and bruised face. You later get confirmation in the day that said injuries were caused by Chris Brown, who is facing charges. You also hear through the industry grapevine that Jay-Z is infuriated by the attack on an artist he discovered and helped turn into a pop star, and has vowed to quietly torpedo Chris Brown's career, at least ensuring his new album Graffiti flops and flops hard. What do you do?

Well, in this case, you would immediately start searching for new artists to fill the niche that Chris Brown did, and you'll grab anyone who can possibly hit a note or who can dance. And that is why, throughout 2009 and 2010, we saw a surge in pop/R&B acts looking to take over Chris Brown's shoes - and there were lots of them. Taio Cruz, Jay Sean, Iyaz, Trey Songz, might as well throw Jeremih into the mix as well. And to top it all off, we have the artist who we're going to talk about today, a young man named Jason Derulo.

Now I have to be honest: throughout the summer of 2010, I really liked this guy. I have his album. By no means I thought he was a great pop star, but he had a ton of energy, he seemed genuine, and his beats (courtesy of oversampling hack JR Rotem) tended to be pretty decent. But my liking for the guy faded in record time when I started taking a look at the lyrics, and I started noticing the fact that Jason Derulo can only really sing with autotune, and that he shouts out his name at the start of every single song. In my eyes, he very quickly went from a pop star I could say I liked to one I definitely said I loathed. To me, the second album struck as the low point, with Jason Derulo hitching his fortunes to the dying club boom and his opening single 'Don't Wanna Go Home' being a nauseating open theft from multiple songs I really liked. 'Don't Wanna Go Home' ended up topping my list of the worst hit songs of 2011 (yes, even beating out LMFAO's 'Sexy And I Know It'), and to this day, I don't think I can ever forgive Derulo for it. 

But let's try to be fair here, because for some reason, Jason Derulo is still around, and to my absolute bewilderment, he's achieved some degree of chart success. To me, it's rather reminiscent of the success Flo Rida has achieved, as Jason Derulo is very much an 'anonymous' pop/R&B star: a guy who is going to have multiple charting hits, but nobody is going to know or care about him among his peers because he has so little distinctive personality. As I said, there's a reason he shouts out his name at the beginning of every song - because, in the case of the majority of audiences, you would have no idea who this guy is otherwise. And just because he has made songs I hate doesn't mean, like Flo Rida, he can't make songs I like: Flo Rida made 'I Cry', and Jason Derulo made 'Love Hangover', so there is a chance for improvement here.

And that's ultimately the reason I chose to shove back my nascent contempt for this fellow and give him another chance. Could I potentially recapture some of the positive feelings I had for Jason Derulo back in 2010?

video review: 'off the beaten path' by justin moore

So even though this post is several hours later, I've already managed to get flames and threats. Fun stuff. 

But yeah, this album is complete crap and should be avoided like the plague. No recommendations from me here. Can't say I've got a recommendation for the album that comes out next either. Want to know what that is? Stay tuned!

album review: 'off the beaten path' by justin moore

Let's talk about pandering in art.

Now, as somebody who listens to music that is shamelessly commercial and designed to appeal to certain demographics, I'm very much familiar to acts attempting to pander or cater to their unique fanbase, who will inevitably lap up whatever they put out. Now, I'll admit that part of this is a testament to the feedback relationship between artists and their fans, which has only intensified with the rise of the internet, as pop stars and musicians seek the approval of their fans and vice-versa. And before you know it, you get diehard fanbases who completely subsume to the artist's point-of-view, regardless of common sense or any form of sane criticism.

But there's a nastier version of this, and that's not just in the pandering towards the fans themselves, but towards their lifestyle and ideology. This is when some acts will make art designed to reinforce the fan's personal beliefs and preferences, make them feel justified in their lifestyle choices. And here's where I have to be brutally honest: we all have favourite acts in this category, the acts that don't really challenge us, but produce art that seems specifically designed to reward us for caring all the same. Hell, The Backstreet Boys made one of their greatest hits off of this premise with 'Larger Than Life', which was a song that spelled out that feedback relationship between fan and artist in explicit terms.

And look, art designed with fans in mind isn't always the healthiest - it's the equivalent of musical comfort food - but it doesn't mean this sort of material has to be harmful, as long as said fans keep their critical faculties engaged and are aware of the messages behind said art. It's not exactly a natural response, but then again, engagement with art isn't always designed to be easy - hell, some would make the argument that art that is challenging to engage with is the best kind of art, as those added hurdles on your part push you closer towards the artist's headspace.

But too often, that critical faculty gets shut off, and you get legions of Beliebers and Directioners and Juggalos, people who will say and do insane things because the artists have cultivated a fandom that reinforces their decisions, good or bad, so long as it supports the artist in question. And when you start including this sort of pandering towards lifestyle choices or ideology or political beliefs, elements that have a real impact on people's lives, you're treading in questionable territory, and if the artist isn't conscientious of that fact, things can get even worse. Or, to put it another way, there's a reason Eminem wrote songs like 'Role Model' and 'Who Knew' and 'Sing For The Moment' - he knew people empathized with the anger and fear and real emotion in his music, and in songs like 'Stan', he revealed his fear that his art could be used to justify dangerous lifestyles. 

But then you have artists who don't nearly care as much, or whom actively seem to want to encourage people to buy into their music, or whom are too lazy or stupid to notice the potential consequences of their art - and with that, we finally come to Justin Moore.

For those of you who are unfamiliar, Justin Moore is one of the most rancid and terrible country acts working today, and if Kacey Musgraves represents everything right with modern country, Justin Moore represents everything toxic and wrong. Not only is his instrumentation completely devoid of texture and flavour and his vocals make my skin crawl, but the premise of his material is centered around pandering to his country demographic. And it's not just directed at his fans, but at his fans' lifestyles, ideology, and political beliefs, music that seems clinically designed to reinforce the worst possible impulses of his fanbase. Songs like 'Bait A Hook' and 'This Is NRA Country' are tracks that are explicitly aiming to cultivate the sort of backwards, contemptible, anti-intellectual horse manure that plays to the FOX-News watching, Limbaugh-listening, Obama-hating types, all mixed with a heavy dose of masculine swagger and privilege that should have died decades ago. 

And you know, I'm not one to attack art for its subject matter - except when there isn't a shred of authenticity in Justin Moore's delivery or presentation. It's too clean, it's too polished, there isn't a shred of humour or real feeling here besides smug, stupid obnoxiousness. Let's throw up a comparison with The Zac Brown Band, an act that has their fair amount of southern pride as well, but it's clear from the rich texture in their vocals and instrumentation, and the emotional heart in which they sell their material that it's at least coming from somewhere real. In contrast, if it wasn't for the accent and the grating oversinging, Justin Moore would come across as a shill.

But I'm willing - for some ungodly reason - to give this guy another chance. After all, people can change and grow and given that he didn't write quite as many songs on his new album, maybe the Nashville machine managed to strip away enough of the elements I found reprehensible. So, with that in mind, what do I think of Justin Moore's new album, Off The Beaten Path?

video review: 'a.m.' by chris young

So, new camera. I have to be honest, I'm still trying to get a handle on it with focusing and lighting, but it's a good set-up (and hopefully one I won't have to sink much more cash into).

As it is, I dug this album. Certainly a lot more than the other two disasters I listened through today... oh yeah, the storm's coming.

Stay tuned!

album review 'a.m.' by chris young

I've written a number of times about how modern country music, particularly that which has had some appeal to the mainstream, has lost something of its edge and texture in favour of catering to a larger audience. Now, I've reviewed a few of these acts who have either gone straight towards pop country (this is your Keith Urban or Taylor Swift) or towards what's been branded 'bro-country' (this would be your Luke Bryan and Billy Curringnton, for example). Now what needs to be stressed is that, in country music, this shift towards the mainstream has happened a few times before - it happened in the 80s, it happened in a big way in the 90s (although there were a lot more factors in that particular shift, given the rise of alternative rock and Garth Brooks) - and it's happening again today.

And at each point in these shifts towards popularity and a subsequent loss of culture, there has been pushback in the form of what some have deemed 'neotraditionalist country'. This is country music that harkens back to the bluegrass and traditional country of the 50s and 60s, and there have been some highly successful acts who have led the charge here, like Alan Jackson, George Strait, Randy Travis, Tracy Byrd, and (to a much lesser extent) Vince Gill. Now as somebody who likes country on both sides, both moving towards the mainstream and those who would prefer to maintain the homegrown culture of the past, I can see both positives and negatives in the neotraditionalist country movement. After all, it's a good thing to know your history, and I certainly prefer this sort of culturally-minded country music compared to the offensive pandering put forward by the Nashville album-producing machine. That being said, if you stay too close to the well of the music of the past without innovation, you can occasionally run into stagnation. Fortunately, this hasn't happened (a big sigh of relief from me), and thus, it goes without saying that I'm fond of the neotraditionalist country movement. 

But for a while, I was starting to get concerned that there wouldn't be that push back in country music against the mainstream that would achieve sort of success. Would I be forced to retreat into alternative country or outlaw country to find any country music with texture and culture and quality anymore?

Fortunately, outside of the mainstay stalwarts, we do have a newer country act who's willing to bear the torch of neotraditionalist country music, and he comes from an unlikely source: Chris Young. For those of you who don't know, Chris Young started his career quite young when he was encouraged to try out for Nashville Star, a country-oriented version of American Idol. And when he won, it'd be the reasonable assumption this guy would immediately start making the sort of polished pop country that gets popular...

And that didn't happen. Chris Young pulled something of a 'Kelly Clarkson' in the country music scene and began working to take control of his own career, particularly in songwriting and artistic direction. It definitely helped matters that Chris Young has a great voice that is born to sing traditional country music: rich, powerful, impressively deep, and loaded with heartfelt emotion. And after several assorted successes (including several number one songs and the critical hit 'Gettin' You Home'), he's finally come roaring back with his new album A.M. this year. So, how did it turn out?

video review: 'dream river' by bill callahan

Jesus Christ, this took way too long to upload. The internet has been terrible all evening, but finally I got it up and working in order to get this review up. Honestly, I'm kind of really happy with this review - it's more free-form than ever, and I'd like to think that there's some decent emotion here too. And for good reason, because Dream River is incredible.

Returning to country tomorrow, stay tuned.

album review: 'dream river' by bill callahan

You know, I can't believe I'm saying this, but here it is: I think I might be softening my opinion on white guys with acoustic guitars.

I know. Believe me, I'm as shocked as you guys inevitably are. But really, it's not quite as simple as my tastes changing but more in line with a hunt for something I've had some trouble finding in music: texture. Keep in mind this isn't a reflexive hatred of pop music either, even though pop can have some of the least amounts of texture in music as a genre, but rather a search for music that has feeling and is organic and comes from a place of real emotion and depth. And while I doubt I'll ever have enough passion for acoustic music that I'll teach myself guitar or something, I have realized that more instrumental texture tends to survive the sanding process of the music industry if one goes to the independent scene. 

Because when it comes down to it, I'm a guy who cherishes honest emotions and well-written songs rooted in those emotions. That's one reason I tend to like country and folk over the general 'acoustic' scene - if you're just writing songs to pick up chicks and get laid, you're going to be dismissed as a hapless novice by songwriters who have a real story to tell. And if said stories can be paired with rich, gripping instrumentation that deftly accents and emphasizes the elements of the story... well, that's ultimately where I find plenty of my favourite songs from acts like Bob Dylan and Nick Cave and Richard Thompson and others. 

So with that in mind, let's talk about Bill Callahan.

Now for those of you who don't know, Bill Callahan has been around the edges of the indie acoustic scene since the 90s, often performing under the name of Smog. Only in recent years has he chosen to perform under his own name and release a series of critically acclaimed albums steeped in folk and Americana. So, as somebody who likes both genres and who was seeking some great instrumental texture from a man who has spent over 20 years making music, I was interested to see how his new album Dream River turned out. And...

video review: 'we are tonight' by billy currington

Geez, the white balance on that video didn't go well at all. Ah well, it happens. Think the video looks halfway decent, though.

Might take a break between the country reviews and go for the Bill Callahan album, though. Stay tuned!

album review: 'we are tonight' by billy currington

Here's something about modern music that the majority of you know: there are a lot of singers and musicians who do not write their own songs. In some cases, they might be the primary songwriter or they might compose the lyrics, but they typically have somebody helping them with the melody line or the instrumentation or other elements of the song. It takes a supremely gifted songwriter who is able to compose every single element of the song, and particularly in pop music, you don't see them as often anymore. It's not often you find guys like Prince or Beck, for example.

However, you used to see singer-songwriters a lot more in country music, and one of the big frustrations of the movement of modern country towards the mainstream is the fact that most country artists don't write their own songs in the same way anymore. With the rise of Garth Brooks, there are some country musicians who don't even write any of their own material, simply relying on the Nashville country song generating machine to crank out song after song. And I realize this isn't exactly a new thing, but it is something that frustrates me as a critic, because certain songs can lose something when you know in your mind that these songs don't have that direct, intimate connection with the singer in the same way.

That being said, I'm not exactly about to condemn the practice of other people writing musicians' songs for them - some people aren't good songwriters, it happens, and thus the job of the singer and performer changes - it's now to sell us the song, to make it their own not through composition, but through their delivery. I know that Garth Brooks didn't write 'The Dance', but his delivery is so damn good on that song that you can associate it with him forever in your mind. It transcends the fact that he didn't write the song and he makes it his own in a big way. And that's one of the big reasons when I look at pop music and country music that I don't mind the fact that producer-songwriters like Max Martin and Dr. Luke exist - in the best cases, I don't associate Max Martin with 'I Want It That Way' or 'Since U Been Gone', I associate those songs with the acts that made them real, The Backstreet Boys and Kelly Clarkson.

But even with all of that in mind, a big warning light tends to go off in my mind when I hear that a guy who used to write the majority of his own material is now only performing songs written by other people, which is the case of the new album by Billy Currington We Are Tonight. Now for those of you who are having trouble telling the various modern male country acts apart, Billy Currington has been, in my mind, one of the better ones, mostly because he's something of a traditionalist, harkening back to the country of guys like Alan Jackson and Tim McGraw and Brooks & Dunn. It also helps a little that this guy is a little older and isn't exactly a great singer, relying more on soul and honest delivery. If I'm going to describe his vocals on previous albums, he's got something of a 'hangdog' style of delivery - not exactly polished in the vein of a singer like Keith Urban, but having the same sort of honest likability. Unfortunately, it's a bit hard to tell if some of that likability is an act, given that he's currently facing charges linked to his poor response to a tour boat buzzing his island home (he got in his own boat and chased away the tour boat rather recklessly - might be the reason all of his marketing for this album vanished). Despite that uncomfortable incident, I was looking forward to his newest album, even though, as I mentioned, he didn't write or contribute to any of the songs on his album. So, how did it go?

video review: 'mgmt' by mgmt

Yeah, I suspect that many people will likely take issue with this particular review, but I stand by it. 

Now comes the influx of country reviews - three coming up over the next few days while I work to get through Manic Street Preachers' discography in preparation for that album. Stay tuned!

album review: 'mgmt' by mgmt

You know, psychedelic rock might be one of the most frustrating genres of music I've ever encountered, at least on the level of songwriting.

Keep in mind this is speaking as a fan of psychedelic rock - as anyone who saw my Edward Sharpe & The Magnetic Zeros review can testify, I'm a sucker for 'old hippie rock' and those attempting to emulate it (even if they don't completely manage to recapture it). And bands that dive straight into the weird, acid-tinged swirl of psychedelia often create some indelible imagery and powerful songs to support it. The Flaming Lips are often the band I'll point to who have managed to capture the raw insanity that birthed psychedelic rock in the mainstream today, and one of the reasons that particular band is so damn good is that they managed to capture more than just the flash of acid hallucinations, but the fragments of deeper meaning lurking behind said illusions, which they then fused together into compelling wholes. 

But here's my big issue with the themes and bands often present in this genre: they either go for complete, uncompromising sincerity towards light or darkness (like Edward Sharpe or, if we're going over to the progressive side, acts like The Flower Kings) or they flip the script, using upbeat psychedelia to contrast with twisted, grotesque imagery or incredibly dark lyrics. It's a rictus grin, a painted smile used to conceal the horrors beneath. Instead of the acid high, it's the acid freakout. The really frustrating fact is that the majority of psychedelic rock is lodged within one of these two camps and nowhere else, with the latter growing more and more popular today in this age of increased irony and general cynicism, particularly for the hippie ideal. And as I have mentioned before, I don't respond as well to bands playing that dichotomy, because I feel a certain purity of theme is lost. Yes, psychedelic rock can plunge into darkness (The Flaming Lips proved that this year with The Terror, one of the best albums of the year and one that scares the crap out of me), but when bands seek to play the dichotomy, I can't help but lose a certain deeper connection to the material in a lot of cases, most of the time because too many of the bands seem entirely too self-satisfied with coming up with the idea.

So let's talk about MGMT, a neo-psychedelic indie rock act that amassed a certain amount of critical acclaim by playing that dichotomy very well - and yet one with which I cannot really feel a connection. Now, let me make it clear that I don't think either of their first two albums are bad (Oracular Spectacular is better than Congratulations, though), but I have a hard time truly getting invested in them because the band is very much enamored with the concept of exploring, taking upbeat melodies and delivery and fusing it with some pretty dark lyrics all things considered, with the glaring contrast being one of the grandest selling points of the album. It doesn't help that it's very clear their albums are draped of layers of irony and sarcasm which makes any shred of authenticity very hard to find in the whole experience - which I suspect is part of the point, but it really doesn't resonate with me. 

However, I'm not entirely sure that MGMT plays to their strengths as much as they should. Their first album gained a lot of press and acclaim due to their fusion of psychedelic indie rock with complex and yet catchy rhythms that had a striking amount of populist appeal - so when the band made a left turn into art rock with their second album, they alienated a lot of fans. For me, that wasn't quite the issue, as it basically felt like a less catchy, more backwards-looking version of their first album, returning frequently to the fount of late 60s and early 70s psychedelia and prog rock and not doing a lot beyond that, particularly lyrically. That being said, as a fan of progressive rock, I can say that MGMT's attempts here are well-intentioned, but more than a little overstuffed, and their better tracks are their simpler experiments.

So, with all of that in mind, did MGMT manage to make something that I found compelling on their third swing, with a self-titled album three into their career (something I always take issue with, by the way)?

video review: 'after the fact' by lmno ft. evidence

Well, I'm not the biggest fan of this review, but that's mostly because I'm working to transition from a more heavily scripted review to something a little more free-form, and I'm not quite sure I've gotten there yet. Plus, it's a great album and thus I don't have a lot to really complain about.

So, the next wave of September albums is about to crest upon me, with MGMT, Justin Moore, Billy Currington, and Chris Young. Also, I need to do some serious catchup on my Dream Theater before that album drops... these next few weeks are going to be goddamn nuts...

album review: 'after the fact' by lmno ft. evidence

Some of you who have been following my reviews are probably wondering why, in comparison with most music critics, I don't tend to cover a huge amount of hip-hop or rap music, that outside of the major releases (and sometimes not even including those), I don't tend to hit up every single mixtape or underground album that gets dropped. 

And believe it or not, I do have a reason for this: I simply do not have time. I'm serious here - given than I want to cover other genres besides hip-hop or rap, I simply do not have time to cover everything that gets dropped. If I chose to dedicate myself to just covering hip-hop or rap I'd have a better chance of tackling most things, but I bet I'd still be utterly swamped.

But here's the other, unfortunate fact, and that is that I'm kind of getting tired of the direction that modern rap is taking. I've mentioned in previous videos that I don't think trap instrumentation is a good fit for modern rap music, how the dour, humourless, often creepy beats are a bad tonal fit for brag rapping, and much to my frustration, they don't really seem to be going away. And sure, while the retro direction Eminem appears to be going in looking intriguing and I'm cautiously optimistic, I'm also aware that The Marshall Mathers LP II will likely never live up to the high, high expectations Eminem is trying to create.

So perhaps it was the best possible time for me to go back to the underground and check out the newest album from LMNO, a very prolific white rapper from Long Beach signed to Up Above Records from the hip-hop crew the Visionaries. LMNO has been around since the mid-90s, and he has released a ton of material over the past several years, particularly in 2010 where he dropped ten albums. And while I highly doubt all ten of the albums were solid, it does point to a rapper who has a lot of experience and who has refined his flow into something truly potent. So, teaming up with producer Evidence (from Dilated Peoples), he released After The Fact this year after taking 2012 off, and on a recommendation, I decided to take a look. So what do I think?

video review: 'echo bench' by echo bench

Hmm, surprised how well this turned out. I talk about the newest Echo Bench album and address a few criticisms from previous videos. Outside of my reviews, I've been working to catch up on MGMT and am working on bringing together my opinion on LMNO's new album. 

Third wave of albums is coming up, so it's going to get crazy here in a few days.