video review: 'broken crown halo' by lacuna coil

God, this took too long to get out my system. Damn it, I wish this was better.

Okay, Cloud Nothings, then I've got a few more hard rock and metal albums coming up, so stay tuned!

album review: 'broken crown halo' by lacuna coil

I've mentioned in the past I have a complicated relationship with gothic music.

Because despite some of the things I've mentioned in the past, I do like a large chunk of it and a lot of the bands that pioneered the format remain favourites of mine to this day. And hell, even though I never had an angry white boy phase as a teenager, I won't deny that my unironic love for symphonic metal had more than a passing fondness for goth subculture. 

But maybe it's just greater exposure, but I only tend to tolerate gothic music of certain veins in small doses, and I liken it to that friend you idolize on some level for being a badass. Sure, he's cool and dark and edgy and can take you on a wild ride, but in the end that brand of darkness either becomes too depressing or too insufferable to tolerate. It's one of the primary character arcs in Edgar Wright's movie The World's End with Simon Pegg's character, and there are a lot of elements that ring true there. Plus, I'll restate what I normally say about nihilistic artwork: if you don't switch up the formula or innovate with it beyond standard goth cliches, it can get insufferable really fast.

The funny thing is that four albums into goth metal band Lacuna Coil's career and after the star-making double punch of Comalies and Karmacode, they seemed to have a similar revelation. For me growing up, Lacuna Coil was the good version of Evanescence and while they weren't really on the same playing field as Nightwish or Within Temptation, they still had a niche I appreciated. But after four albums of pretty damn solid gothic metal, they flipped the script somewhat with their 2009 album Shallow Life, an album that still had many goth cliches but a more mainstream-accessible focus. Unfortunately, they got this thanks to producer Don Gilmore, who is most famous for working with Linkin Park, Good Charlotte, and Hollywood Undead. And honestly, while I can't say Lacuna Coil delivered any of their best material on either Shallow Life or their 2012 album Dark Adrenaline, I blame Gilmore for why those albums are nowhere near as great as their predecessors, mostly thanks to placing the guitars on the surface in the mix and dampening the melody, and moving the vocal track closer to the front. And look, the lyrics have never been Lacuna Coil's strong point, and by lessening the focus on the melody, the songs got a lot more interchangeable and considerably weaker.

Thus, I was actually enthused when I saw they had ditched Gilmore as a producer for their newest album Broken Crown Halo. And while I wasn't expecting a return to the glory days, I did hope that the band would be able to recover some of their spark. Did they pull it off?

video review: 'z' by sza

Well, this was a bit of a letdown, but I'm glad I got to say my piece anyhow, because there are some great elements on this album that should be examined.

Okay, next up will either be Cloud Nothings or I'll finally have the chance to put Lacuna Coil out of their misery. Stay tuned!

album review: 'z' by sza

A few weeks back when I talked about Young Money, I made the statement that they were probably one of the few rap groups that had a consistent record in launching unique solo careers, at least in terms of chart success and the popular consciousness. Between Lil Wayne, Drake, Nicki Minaj, and to a lesser extent Tyga, Young Money managed to have a lot of commercial success, especially in the past five or six years - and up until very recently, a fair amount of critical success as well.

Well, okay, that might be overstating it, because of the group only Drake has proven to be the consistent critical darling, with increasingly uneven output from his peers, and their label collaboration album Young Money: Rise of An Empire being not exactly stellar - or, you know, good. No, if I want to look for more consistent critical acclaim, I've been looking more towards Top Dawg Entertainment, an independent hip-hop record label that's been getting some serious critical buzz over the last few years, especially after the release of good kid, m.a.a.d city by Kendrick Lamar. In terms of business expertise, I find a lot more to like with Top Dawg, mostly because unlike Young Money, they're working hard on establishing a relatively small stable of solid rappers before recruiting additional talent. And while I'm not the biggest Ab-Soul fan, I've been pretty impressed by the work they've done with Kendrick, Schoolboy Q, and especially Jay Rock.

But earlier this year they announced they were signing two new artists: Isaiah Rashad and SZA, the latter of which is an R&B singer influenced by 80s synthpop and soul. And as the only female artist on Top Dawg at the moment, I was curious how her material would be shaped from that label and I made it a priority to check out her full-length debut Z. How did it turn out?

video review: 'she looks so perfect ep' by 5 seconds of summer

There, are you happy now? I did not need this today...

Okay, next up will either be Cloud Nothings or SZA, we'll see. Stay tuned!

album review: 'she looks so perfect ep' by 5 seconds of summer

...alright, fine, I'll talk about 5 Seconds of Summer. But let me make this clear, I'm only covering this act because I need more time to write about a whole slew of other acts in my backlog and it shouldn't take me that long to cover a four song EP. And really, I don't tend to cover a lot of EPs - mostly because I like full-length albums with arcs and artistic statements, which, for the record, you can find in pop music.

But even if I did cover EPs, I could not be less interested in talking about 5 Seconds of Summer. At first glance, these guys look like a low-rent Nickelodeon pilot with the production values to match it. Yes, I've covered teen pop and boy bands in the past, and I'll even admit some fondness for some of it, but good shallow pop music has elements that make it work or stand out. Even dumb power pop - which has been around in some form or another for decades - has the guys who stand head-and-shoulders above the rest in terms of songwriting, melodies, or sheer presence and charisma. I'm talking about acts like Semisonic, Fountains Of Wayne, The Knack, some parts of Jimmy Eat World and Weezer. My point is that this isn't anything new, and the argument that 'well, sure, it's not new, but we can't expect teenagers to go looking for the classics because they're teenagers and they'll consume anything we shovel into their ears' smacks of real laziness and a degree of contempt for the target audience.

But hey, 5 Seconds of Summer could just be the next ones to top the heap, so I picked up the Australian band's EP and gave it a listen: is it worth your time?

video review: 'where it all began' by dan + shay

Another pleasant surprise, and this one completely unexpected.

Next up... hmm, might tackle a new hip-hop album, I feel like a change of pace. So stay tuned!

album review: 'where it all began' by dan + shay

Well, I shouldn't have been surprised this was happening.

And really, after the runaway success of Florida Georgia Line last year, it was all but inevitable that major labels would start hunting for other duos that could fill the bro-country mold. Frankly, I'm surprised I haven't tackled more groups of artists in this vein. I mean, last year there was Parmalee who were more of a band, and this year we had Sundy Best, who weren't remotely close to bro-country and were actually pretty damn awesome. And yet outside of them, bro-country has mostly been the genre of solo male artists in the vast majority - and despite many of them copying the same tropes and formulas, you could almost lay out a spectrum of how they present themselves.

And as tempted as I'd be to call it a spectrum between crap and not-quite-crap, that's not really fair or representative of a difference I find interesting within the subgenre, and that is how the acts present themselves. Let's face it, as much as some bro-country artists come across as swaggering alpha male douchebags, it's not indicative of the entire genre and there are some artists who are looking to opt a more sensitive side. And sure, it doesn't always work and some of the worse acts in bro-country have been when said affectations prove completely unconvincing, but given how many bro-country artists are trying to pivot in this direction, it's interesting to see how the newest crop make it work.

Enter Dan + Shay, a new country duo who started their career writing for Rascal Flatts before getting signed themselves. Now with the hit single '19 You + Me', they've got a debut album and a fair amount of popular buzz behind them, especially on the charts. So, I gave their new album Where It All Began a listen and hoped for the best: how was it?

video review: 'oklahoma lottery' by karen jonas

Damn, this was a welcome surprise. Seriously, check out this album, this woman deserves some real attention.

Up next... still not sure, so stay tuned!

album review: 'oklahoma lottery' by karen jonas

So here's a problem in the internet age that only critics will really complain about: with the advent of iTunes and Bandcamp, it has become very easy for a lot of music to be released independently - which, more often than not, is a very good thing, as it allows the artists to retain their unique sound and flavour and not get hammered into a marketable brand by the label system. But what it also means is that if I only covered new releases that showed up on Bandcamp and released reviews 365 days a year, I would still fall even more hopelessly behind than I already am.

As such, when an act from the independent country scene that I've never heard of starts to get some serious critical acclaim, I take notice, especially when I start to hear one of her biggest selling points is her songwriting. This takes us to Karen Jonas from Fredericksburg, Virginia and her debut album Oklahoma Lottery. Apparently, she has less of a web presence than I do - which, for an indie act building buzz, is a little startling - but then again, it's a little more excusable than mainstream country acts that have the same problem. And as always, I tempered my expectations: even though one of my top albums of the year thus far is the Texas indie country release Daylight & Dark by Jason Eady, I'm also very conscious of the fact that critics can tend to upsell indie acts that catch them by surprise. It's a natural human instinct, and sometimes it can eclipse critical thought and analysis. So with that in mind, I bought Oklahoma Lottery from Bandcamp and gave it my due: did Karen Jonas deliver?

video review: 'salad days' by mac demarco

Honestly, I thought I'd skip this review, but it turns out I had enough to talk about in this review.

Okay, next up... huh, not sure yet. Stay tuned, you'll see!

album review: 'salad days' by mac demarco

One of the biggest tropes in comedy is observational humour. You know the stuff, the material that fills the acts of the late George Carlin, Jerry Seinfeld, and Louis C.K.. The moment-by-moment notes about the little things in life in life that are quirky or odd or out-of-place, the things that might seem inessential until you dig into the reasons why we do them. And this sort of observational style shows up in other art as well, for obvious reasons: observing the normal world around you allows outlets to create plenty of stories, and implying depth in said stories can take elements that everyone can relate to and make them seem a lot bigger than they are.

And I'll be honest: with few exceptions, the sort of music that works through 'observational commentary' doesn't do a lot for me, especially if the tone of said music is more muted and mundane and actively seems to avoid drama. Sure, it's often effective in creating atmosphere and critics will eat this material up for its immersive factor and its relatability, but music that coasts by on mellow observations just does not interest me, especially when the 'insights' it presents aren't remotely revelatory. And that's not saying music about suburban or rural life can't be interesting - far from it, Arcade Fire, Lorde, Sun Kil Moon, and a whole slew of country artists have proven that wrong time and time again - but a slice of that sort of life without deeper commentary or insight often for me comes across as small-minded, bland, and rather pretentious.

And really, that was my first reaction when listening to Canadian singer-songwriter Mac DeMarco's debut album 2, an album that I don't really dislike but nearly puts me to sleep every time I listen to it - which, for the record, is not a good thing. Sure, the melodic progressions were interesting and the production was pretty solid, but with the too-smooth guitar tones, DeMarco's half-stoned delivery, and the lyrics that had some decent text but sparse subtext on suburban life, I just could not get invested in that record. It might not be strictly in the 'white guy with acoustic guitar' genre, but the tone and delivery of the album definitely fell into that category in trying to come across as having depth when there really wasn't much there, either through delivery or lyrics.

So why the hell did I pick up his follow-up album Salad Days? Well, call it curiosity, if you want, because buzz was suggesting this would be the album where the 'laid back bro grows up'. Now this was the same defense I heard used for the new Real Estate album, but given DeMarco's taste for weird melody lines, I had the hope that something on this record might be able to grip me - was I right?

video review: 'head or heart' by christina perri

Well, this took longer than I expected to get out. Glad to see it.

Next up, hmm... Dan + Shay, Lacuna Coil, Mac Demarco, Cloud Nothings, or that apparently amazing album from Karen Jonas. We'll see, stay tuned!

album review: 'head or heart' by christina perri

I've got a complicated relationship with Christina Perri.

Hell, I could make the argument I have a complicated relationship with the entire genre of piano-inspired adult alternative / pop rock - as in, I tend to be more forgiving of it than the male counterparts on acoustic guitars. I cannot in good faith say that everything in this genre is good or works consistently, but when you have artists that manage to come up with some imagination or unique framing or emotionally compelling performances, I'm normally pretty supportive. And thus, acts like Adele, A Fine Frenzy, Fiona Apple, Tori Amos, and to a lesser extent Vanessa Carlton and Regina Spektor do manage to work for me more often than they don't.

And at first listen, Christina Perri was on that list too, and I distinctly remember liking 'Jar Of Hearts' more than I didn't back in 2011. But then I listened to that debut album and my liking for her as a performer nose-dived in record time. Like it or not, Perri's greatest strength on her better songs was her emotional vulnerability, but it wasn't long before I noticed that her lyrics frequently approached hyperbole and sophomoric whining. And given she wasn't exactly an impressive instrumentalist, it consigned large chunks of her material to being less compelling and more intolerably tedious. And really, it made all too much sense for 'A Thousand Years' to be attached to the Twilight franchise because it was a song so shallow and bereft of maturity that it made perfect sense to be attached to Stephenie Meyer's masturbation fantasy. So I put Christina Perri out of my mind, resolving that I'd come back when she put out another album and hoping that she might have grown up in the mean time, so when Head Or Heart came out this year, I gave it a few listens. How did it go?

video review: 'forcefield' by tokyo police club

Honestly, didn't expect to get this much material out of this album, so a nice pleasant surprise.

Okay, juggling a couple of different discographies right now, so I'll start with someone easy: Christina Perri! Oh joy...

album review: 'forcefield' by tokyo police club

It's been a while since I talked about Canadian music - so let's change that, shall we?

Specifically, we're going to be talking about the Canadian rock scene, indie or otherwise. The fun fact is that when you move away from the post-grunge scene towards more of the pop/indie rock vibe, there are some really high quality bands. For one, I'm a big fan of Marianas Trench and their intricate pop opera brand of songwriting, to say nothing of great hooks, solid melodies, and at least two incredibly solid albums. On the other hand you have an act like Metric who I also really like - oddly, for a lot of the same reasons: great hooks, solid melody lines, and reasonably good songwriting.

And I think at the intersection of these two, I would place Tokyo Police Club, a band that might call themselves indie rock, but does share a lot of traits with pop rock acts. While they might have a bit of a rougher sound, their lyrics are decidedly lodged in the overly verbose, almost naive landscape of emo pop rock that got popular in the mid-2000s. And while I wouldn't say they're as strong songwriters or musicians as either Metric or Marianas Trench, Tokyo Police Club for me are the definition of a good rock band: good hooks, decent vocals, occasionally interesting lyrics, and a strong pop sensibility both in theme and in execution. And it's really that pop sensibility that's defined the band for me, as there has been a progression towards an indie pop level of polish and lightweight energy that has given them more staying power than anyone would have expected from their early years.

And thus, I was interested enough in their newest album Forcefield, which early buzz was suggesting was even more geared towards a mainstream pop audience, especially with the chart success of certain indie rock acts these days. What did I find?

video review: 'shine' by anette olzon

Glad I got this out. Think I might be one of the few critics who bothered to look at this, and that's a bit of a shame, because it was pretty good.

Next up, Tokyo Police Club. After that, I'll start tackling the April releases, like Dan & Shay, Lacuna Coil, Mac DeMarco, and Cloud Nothings, plus a few more. Stay tuned!

album review: 'shine' by anette olzon

Let me take you back seven years, when word first broke that the symphonic metal band Nightwish had hired a new lead singer - the former frontwoman of Alyson Avenue, Anette Olzon.

And at that moment, the Nightwish fanbase split into three distinct parts. The first were the fans of Tarja Turunen, who were incensed that she had been fired and took a while to come around to the new singer, if they did at all. The second were pro-Anette, embraced the rougher, looser tone Nightwish took with their next two albums, and really enjoyed her more dynamic stage presence. And the third group - where I would count myself - realized that Nightwish had always been the brainchild of keyboardist and songwriter Tuomas Holopainen and the band was still capable of making great music regardless of the lead singer. And with that in mind, acknowledging the change in direction, I like music that was made by both incarnations of the band.

Now fast-forward to October of 2012, where the news broke mid-tour that Anette Olzon had been dismissed from Nightwish and had been replaced by the female singers from tourmates Kamelot and later by Floor Jansen. I'm not going to get into the back-and-forth drama of the whole endeavour, but I will say this: from what I know of Tuomas and the way he runs Nightwish, I was disappointed, but not surprised. But just like Tarja had done ahead of her, Anette Olzon made the choice to strike out on her own and release a solo album - and I did not expect much. Let's face it, it took Tarja three albums to hammer out a working formula,  and Anette had never been responsible for any of Nightwish's songwriting. Furthermore, the buzz was suggesting this album wasn't a metal or even a hard rock record like she made with either of her previous bands, so I wasn't sure what to expect. So how was Shine?

special comment: the finale of 'how i met your mother' - a response (VIDEO)

The more I think about this resolution to this TV series, the less I like it. That's telling.

Okay, I needed to get that emergency out of the way, Anette Olzon's coming up soon, stay tuned!

special comment: the finale of 'how i met your mother' - a response

I've been watching How I Met Your Mother since Season 3. I didn't get on board straight away because it reminded me of Friends and I've never been able to stomach that show. And since then, for nine seasons, I've watched the show and rewatched the show time and time again. I know some of the classic episodes beat-for-beat. I've laughed, I've cried, I've cheered and defended this show even in the seasons I saw it circling the drain - which, namely, was Season 5, because despite the Zoe arc in Season 6, there were moments in that season that had emotional pathos and goddamn it, I bought it.

And then we had Season 9, the season encapsulating just a few days of Barney and Robin's wedding - and I'll be honest, despite the gimmicky nature of some of the episodes and the reliance on callbacks that has become more of a crutch for this show year after year than a strength, I was on board. Some of the callbacks felt like the payoff of seasons of build-up, emotional and character arcs that lasted for years and finally met their righteous ending. I'm not going to lie, there were moments that were glorious and well-earned and I even bought into Robin and Barney as a couple, the two who had always been the most deeply broken inside and how they made each other stronger as they stayed together. 

And there were telegraphed moments throughout that season that built to the finale tonight. Going in, I had a feeling in my gut that there was tragedy in the future. I didn't know if the mother was going to live - I assumed she wasn't, it was obviously telegraphed - and honestly, I expected Ted could have been dead, and he's retracing the moments of his life that led up that climax, and how everything else didn't matter as he faced Purgatory or whatever. That would have given some real weight to the moment when Ted meets the Mother, the high point, the climax, the moment for which we've been waiting. And it would have been devilishly charming if it had ended at that moment, a quiet moment of anticlimax that would have been goddamn beautiful and earned.

The finale went in a different direction. And I will say this: on paper, the majority of makes sense. Friends, even as tightly knit as these have been, drift apart. If you have kids, you'll go weeks or months or years without seeing people. If you're on an insane travel schedule, marriages will fracture, especially when both partners are as driven and free-spirited as the two in question. And when that happens, people regress until they make stupid decisions and are forced to turn their lives around. And spouses die, and eventually, it's believable that you might return to that old flame that you've nurtured in the back of your heart year after year after year. From a position of human drama, I buy everything that happened in the finale of How I Met Your Mother - on paper.

The reason the finale does not work - and really does impressive amounts of damage to the show's many dramatic arcs as a whole - is entirely a matter of tone. And you know, tone is a tricky thing, especially when you're working with footage cobbled together for years and you've had the finale lodged in your mind almost a decade since the very first episode. And here, the misunderstanding of tone is mindboggling - because in the writers' minds, it's always been about Ted and Robin. It's the central locus, the primary element since the pilot that has defined this show - and really, it's never been about the Mother.

It was that pilot in the mind of the writers when they wrote the finale. It's just a shame they didn't consider all the other elements they had brought in, and for a show with this sort of storied history, it's amazing how much they forgot and disregarded to create this finale, most specifically the final moments.