album review: 'ghost stories' by coldplay

I think Coldplay has a worse reputation than they deserve.

Yes, they tend to get lumped into the category of silent majority acts, bands adored by the mainstream but generally viewed outside of the mainstream as making crowd-pleasing pablum, and yes, they've written more than their fair share of broadly sketched, saccharine trifle, and yes, Chris Martin can be a preening, pretentious dick, but when you take a step away from all of that, is Coldplay really all that bad?

Honestly, I don't think so. I'm not going to thrash a band for being accessible if they make good music along the way, and I'd be hard-pressed to deny that Coldplay has written some great melodies and decent lyrics throughout the course of their career. I think part of the issue with Coldplay is the undeserved hype behind them and I remember the push for the band as the next stadium rock act in the vein of U2. But while I can say Coldplay puts on a great show, having seen them live in 2009 when they toured with Snow Patrol, they're playing in a different wheelhouse than a band like U2, in instrumentation and especially in songwriting. 

But around the mid-to-late 2000s, things started to shift with Coldplay. They started working with Markus Dravs and Brian Eno when they released the slightly more experimental Viva La Vida or Death and All His Friends, which remains my favourite Coldplay album for amping up their epic scope into something with some actual teeth. They then tried for a concept album with Mylo Xyloto, and while I'm still not really a fan of that record, I do respect the band for sticking with Eno and trying something new. Granted, I couldn't take Chris Martin's bad pretentions behind asinine lyrics remotely seriously, and the autotune was completely unnecessary, I can't really call the album more than just a slight misfire for me.

But when I started hearing the first singles from Coldplay's newest album Ghost Stories, I was immediately worried. Not only did they seem softer and weaker than ever, they seemed to be opting for a drearier, ambient tone, the same sort that's been smothering indie rock like a plague for the past year. In other words, I had nothing but bad feeling about this album going into it: was I wrong?

video review: 'rewind' by rascal flatts

Well, that was worth a good laugh, I can tell you that. Not a good album by a long shot, but man, I needed that burst of humour. Review was a ton of fun to film too.

Next up will be Coldplay - I just need more time to deal with Swans, so be patient, it's coming.

album review: 'rewind' by rascal flatts

I've said before that there was a period in my life where I drifted away from country music. And it wasn't because of any teenage rebellion or any nonsense like that, but there was just a period of time on mainstream country radio where I was getting nothing out of the music. It felt soulless and generic or lacking any sort of genuine emotion or feeling, and it wasn't as if it evoked a response from me other than just apathy. And I hate saying that about a genre I love, but I can't deny the facts that throughout the mid-to-late 2000s, outside of a few artists I couldn't be less interested in country music.

And of the many acts that got huge in that time frame, the band I blame the most was Rascal Flatts. For me, they were always the spiritual successors to Lonestar, in that they performed a lot of soaring, middle-of-the-road pop country and had very limited writing credits on their material. But unlike Lonestar's Richie McDonald with the pipes and passion to back up his material, you had Gary Levox, a singer who delivers his middle-of-the-road pablum with a smile as plastic as his music, and voice that did nothing for me whatsoever. It's telling that Rascal Flatts signed to Big Machine in 2010 and joined in with artists affiliated with Taylor Swift, because at their worst, both acts produce the same sort of utterly empty pop-country with not a hint of texture or depth in sight. 

And thus, I couldn't tell you how much I was dreading a review of this album, especially after the lip-syncing debacle at the American Country Music awards this year and the rumours that their newest album Rewind was an attempt to modernize their sound. And even though I've been reasonable with pop country acts like Keith Urban, Danielle Bradbury, Dan + Shay, and even Hunter Hayes in the past, there was nothing you could tell me that would make me think this album was good. But then that terrible voice in my head that's actively encouraging me to review Brantley Gilbert's upcoming atrocity spoke up and whispered, 'Dude, you can't judge an album fairly until you give it a chance to prove you wrong.' And yeah, that's true, so I picked up Rascal Flatts Rewind over continuing to work through the Swans discography or revisiting Mariah Carey's discography in preparation for her new album or even just relistening to Sturgill Simpson's new record for the dozenth time because that album explodes country awesomeness from every pore. Was Rascal Flatts worth it?

video review: 'turn blue' by the black keys

Well, this was an interesting record to talk about. Once again, not exactly good, but definitely intriguing.

Okay, I'm going to talk about Rascal Flatts, because I listened to the album and hoo boy, this'll be fun...

album review: 'turn blue' by the black keys

If you're a male music fan, there is one statement I can make definitively: over some period of time, either in the past, present, or now, you will be a fan of the Black Keys.

For me, that period of fandom lasted about three weeks in the middle of August 2013. That's not saying I don't like the Black Keys or think they aren't a solid rock band drawing back to the grimy, lo-fi era of garage rock, but my fandom of this act has receded a fair bit over the months the more I've had a chance to reflect on their music. After all, the band's greatest strengths have been their knack for textured, rough-edged melody-driven hooks with a swaggering blues-inspired edge. But here's the thing: the band has long been aware of this advantage, and over the course of seven albums from 2002 to 2011, they milked that advantage as long as they could. Now that's not saying they didn't get some killer songs along the way, but the Black Keys had a formula, and outside of a few stylistic ventures - mostly thanks to Danger Mouse collaborations - they tended to stick to it. And while that formula made for great singles, it didn't exactly make for great album statements. That, combined with the fact the duo has written some pretty obnoxious lyrics - especially when talking about women - did mean that I cooled on the weaker parts of the Black Keys' discography in record time.

And thus when I heard they were planning to switch up their formula with their newest album Turn Blue, I was both intrigued and concerned. I'm all for bands like The Black Keys to experiment, but the opening singles gave me a lot of pause, because not only was the distortion gone, but the synth tone being used seemed really unflattering. A few enterprising critics made a Foster The People comparison, and while I'd disagree somewhat with that assessment, it certainly was a sound far removed from typical Black Keys and not exactly for the better. And thus, I wasn't exactly looking forward to the new album: did I get proven wrong?

video review: 'metamodern sounds in country music' by sturgill simpson

Holy shit, this album is amazing. Man, I needed an album like this, because this record is phenomenal.

Okay, the Black Keys next. Stay tuned!

album review: 'metamodern sounds in country music' by sturgill simpson

So here’s a friendly tip for all of you new music critics out there: if you’re going to start doing a review series like I do and want to make a year-end list of the best albums of the year – as of course you’ll want to do – it’s a very good idea to keep an eye on the genre charts and fellow critics to track albums that you may have missed early in the year. Because trust me on this, you do not want to discover midway through the next year that you might have missed a record that could have had a chance to make that year-end list.

Now granted, it’s damn near impossible to hear every record that gets some manner of acclaim – especially because even aggregators like Metacritic aren’t perfect, especially when you have albums that are removed from the mainstream. And nowhere is this truer than in country music, especially from the independent circuit. And thus, when I put out my year-end list of my top albums of 2013, I got questions why High Top Mountain, the critically acclaimed debut album from Sturgill Simpson, did not make my list. Well, the truth of the matter was that I hadn’t had the chance to listen through it when I made my list, a mistake that I knew had to be rectified as soon as possible.

So now that I’ve heard High Top Mountain, would it have made my year-end list? Well, it would have been damn close, that’s for sure. The album is great across the board, with great raw texture in instrumentation and Simpson’s thick accent, and the songwriting brings the same rich flavor to the table. Most intriguing to me was that through the hazy guitar tones, the album was rooted the psychedelic country tradition, an outgrowth of the hippie-movement throughout the late 60s and 70s. A distinct oddity in an typically conservative genre, Simpson’s socially-conscious lyrics about weed, crime, and unemployment rang all too true in crossing outlaw energy with psychedelic texture, creating a unique album that easily deserved the acclaim it got.

And thus, it wasn’t surprising that country music critics – myself included – were extremely interested in Sturgill Simpson’s follow-up record, Metamodern Sounds in Country Music, a record that promised to be even weirder and more experimental than his last record, something that only enthused me even more. And determined not to miss him twice, I took a look at the album: how did it go?

video review: 'the quantum enigma' by epica

Well, this took a while to decode, but I'm glad I could pull it off.

Next up will probably be Sturgill Simpson and the Black Keys, so stay tuned!

album review: 'the quantum enigma' by epica

I've made the statement in the past that lyrics are often the least important thing in symphonic metal - or at least, for the longest time, they were for me. That's not saying I didn't notice bad lyrics or wasn't aware that some symphonic metal could get unbelievably silly or ridiculous, it's just that I didn't tend to mind as much as long as the instrumentation, production, and delivery were able to deliver that epic sweep on their own.

And if I was looking for a band to violently change my mind on this belief, that band would be Epica, an act that I can only describe as the thinking man's brand of symphonic metal. Now for the longest time, I had had a hard time into Epica, mostly because I found the guitar tone chosen on those early albums a little flat and unflattering and Simone Simons to be a talented singer but not particularly engaging behind the microphone, at least early on. And on top of not having a really immediacy to their hooks, I ignored this band for a long time. 

But man, once I got past that first album and really started digging into their lyrics, colour me wrong about this band. Epica was not only tackling big enough subject matter to match their massive orchestrations, but also was doing it with intellect, due consideration, and a lot of richly articulated nuance. This was a band that routinely explored religion, politics, philosophy, and mortality, and once they had improved their production and picked a heavier guitar tone, I found myself really getting into the band. That's not saying they don't have problems - I would be lying if I didn't say that Epica didn't get preachy every once and a while, and I still think as a band they haven't quite mastered a killer hook like their contemporaries Nightwish and Within Temptation have, but Mark Jensen and Simone Simons remain strong songwriters and performers, and they're only getting better.

And coming after their 2012 album Requiem For The Indifferent - an album demanding the audience engage in the world and be willing to work together to tackle world-shaking problems and not be divided and unwilling to compromise - I was very interested in their newest album, titled The Quantum Enigma. Now, this isn't the first time that Epica has tackled the topic of quantum physics - or rather, the complete failure of certain parts of society to not recognize that brand of science and how they need to evolve, all framed as a philosophical argument in a romantic relationship - so I was definitely wondering how on earth they'd manage to pull this off twice. So I picked up the album and dug in deep - what did I find?

video review: 'glorious' by foxes

Well, I enjoyed this. Can't say that it's a great album or that earns its bombast, but it's still fun.

Next up, Epica. Stay tuned!

album review: 'glorious' by foxes

Now when I made my year-end list for the Top 10 Best Hit Songs of 2013, I always make a point of taking a look at what other critics tend to hold up as their favourites in this category. And while there were certain songs that crossed multiple lists including mine, there was one that I couldn't in good faith put on my list: 'Clarity' by Zedd. Many critics considered it their favourite mainstream EDM song to chart, and I definitely understand why. It had a solid crescendo, a great backing chorus, and lyrics that managed to fit the broad scope of the song. And yet, I was never a big fan of the track in comparison with songs like 'Wake Me Up!' or 'Don't You Worry Child' - I found the beat a little underweight, the synthesizer line a little overstuffed, and the melody not all that impressive.

However, there was one person in that song who did stand out for many people, and that was Foxes, a British pop singer/songwriter whose soulful delivery and careful balance between ethereal distance and raw vulnerability really anchored the song. Now I was more familiar with her from 'Just One Yesterday', a song off of Fall Out Boy's gloriously messy album Save Rock and Roll, and if it wasn't for a few sloppy rhymes in the verses, it would have made one of my other year-end lists simply on atmospheric power and drama alone. And thus, I was interested to see where Foxes would take her debut album Glorious, because to be fair, I didn't have much of a grasp on her musical identity outside of her featuring credits. What was this new album going to deliver?

video review: 'storyline' by hunter hayes

Well, this one came out pretty quickly. Surprisingly so, actually.

In any case, Epica should be next, followed by Foxes while I work my way through Swans' discography for the big week coming up. Stay tuned!

album review: 'storyline' by hunter hayes

So here's an odd question: how much does age matter in music?

On the surface, it shouldn't matter at all. There have been young men and women of prodigious talent who can wow people no matter how old they are - hell, look at Michael Jackson as a member of the Jackson 5. But let's change the question slightly: how much does it matter in country music?

Because like it or not, most country is grounded in more mature subject matter, if not history and tradition. Neotraditional country is rooted in that spirit that tends to demand an older voice to deliver it, because let's face it, most young country stars aren't incredibly interested in the past. But even bro-country acts who just want to talk about trucks, women, and drinking do almost require their audience to at least be old enough to buy beer to at least relate with the situations you describe. As such, you really don't find many teenage stars in country music, especially in comparison with other genres like pop, hip-hop, or punk.

Enter Hunter Hayes, who signed on as a songwriter with incredible talent with Universal in 2008 - when he was seventeen. He got his start touring with Taylor Swift and Rascal Flatts before dropping his solo, self-titled debut album - and I'll admit, I didn't care for it. I thought the production was extremely processed, the songwriting not particularly inspired, and despite his real talent in composition and performance, the album felt interchangeable to me. A few snarkier critics branded him as the country version of Justin Bieber, but given Bieber's musical evolution, that always struck me as unfair. And thus, I vowed to give Hunter Hayes a second chance with his newest album Storyline. How did that go?

video review: 'nikki nack' by tUnE-yArDs

Well, this was an interesting experience. Can't say I'll be revisiting the album, but it was definitely worth exploring.

Next up, either Epica or Hunter Hayes, so stay tuned!

album review: 'nikki nack' by tUnE-yArDs

Let's talk about cultural appropriation.

Now before everyone jumps down my throat, I think defining this in terms of music would be helpful, so here it goes: cultural appropriation means the usage of specific musical elements that can be directly linked to another culture without proper knowledge of their execution or reasoned intent. In other words, if you're going to borrow from other cultures, know what the hell you're doing and do it well. Because believe it or not, I'm not inherently against the embrace of the material from other cultures, as to strictly confine oneself to their own narrowly defined culture can limit musical expression and shuts down the conversation about integrating and blending artistic ideals and expressions.

That said, what people tend not like with cultural appropriation is when the artist uses it to add connotations of exoticism or tribalism or in the worst cases denigrating or incorrect stereotypes associated in the collective western unconscious with that sound. It's one of the issues I've had with Vampire Weekend's usage of African elements: sure, it fits the modern multicultural atmosphere the band has always striven to create, but the underlying defensiveness regarding privilege in their work has always made their usage of these elements a little uncomfortable - which is really frustrating for me because otherwise, I really like their music! This also became an issue with Arcade Fire's most recent album Reflektor, an album that utilized Haitian elements to enhance their inspiration from Black Orpheus, but then overloaded their stage show and revealed in their songwriting a serious misunderstanding of those elements.

And yet when I took a look at tUnE-yArDs' 2011 album whokill, I was pleasantly surprised to see that my fears of cultural appropriation were mostly unfounded, as lead performer Merrill Garbus seemed to be aware of the roots of her material and was trying her best to recreate that brand of pop - and was, for the most part, thanks to her soulful and bold delivery, succeeding. She reminded me on a deeper listen a lot of M.I.A., especially in her patchy lo-fi production, colourful sound collage approach, and complete lack of subtlety. But say what you will about M.I.A., at least her first two albums approached the subject matter with a cohesive tone. By contrast, whokill was perhaps the most placid and buoyant album exploring violent subject matter I've ever heard, and despite some harsh-leaning lyrics and a rich organic sound, it lacked organic depth and deeper insight to me, and it wasn't nearly raw enough to connect on a visceral level either. In other words, as much as I liked the bass melodies and the textured percussion, I felt the album lacked the punch to bely its subject matter.

So honestly, I was curious what was in store for the next album, Nikki Nack, which looked to be heading in a different direction, at least instrumentally. How did it turn out?

video review: 'phantom and the ghost' by styles p

Pretty short review, but still was a pretty solid record that I genuinely enjoyed, and thus there isn't a lot to say about it.

Okay, next up, I should figure out what that whole tUnE-yArDs thing is about. Stay tuned!

album review: 'phantom and the ghost' by styles p

So I'll be the first to admit that as much I've learned about hip-hop over the course of the past several months of reviewing albums, I still have a ton to learn and explore, especially in the underground. Now thanks to the Internet, we probably live in the easiest time to get access to underground hip-hop, but at the same time, it also means my backlog has started to reach startling levels. And thus, given my own preferences, I tend to keep my eyes open for underground MCs that catch my eye based on my own preferences in rap music - a smarter, lyrical focus, real charisma, and the ability to talk about other concepts than standard gangsta rap.

So it wasn't long for Styles P popped up on my radar. Now I remember him a little bit from the charts in the late 90s and early 2000s, mostly due to his affiliation with The LOX, a rap group I mostly like but don't love. Now granted, my ambivalent feelings towards The LOX mostly extend to frustrations I have with Jadakiss, but that's a whole other issue - to me, Styles P was the least direct and outwardly aggressive of the trio, which I found interesting. Most recently, he dropped a verse on 'No Hesitation', a track from the Alchemist & Evidence collaboration project Lord Steppington - and I'll be blunt, it's probably my favourite song from that album. His flow and wordplay have only improved, as has his stage presence, so I made a point to look up his new album Phantom And The Ghost, which was getting positive buzz for being a more thoughtful gangsta rap record. So, how was it?

video review: 'i never learn' by lykke li

Holy shit, this album was great. Seriously, I hope her singles blow up like nobody's business, because the mainstream is perfect for this sort of thing right about now.

Okay, next I'm going to talk about Styles P, because I need more time for Epica. Stay tuned!

album review: 'i never learn' by lykke li

I've talked before about my general aversion to cutesy, small-minded indie pop, especially the type that sticks close to conventional instrumentation and plays up the twee element to eleven - but at the same time, it's a genre that has other facets, and subverting those expectations can often be just as rewarding. I've talked before about St. Vincent, who undercut her classically-inspired instrumentation with subversive lyrics and experimental edge, but she's not the only one who has tackled this playing field.

This brings us to Lykke Li, an artist who I originally expected to dislike a lot more than I do, especially off of her first album Youth Novels. It was a minimalist, underwritten exploration of young, immature emotion, all delivered through Lykke Li's high girlish vocals - and yet it worked. Lykke Li had a great grasp of melody, a phenomenal grip on atmosphere thanks to stellar production, and the balance she held between saccharine sweetness and unnerving wisdom was impressive. And in a natural step forward, her second album Wounded Rhymes improved every element, deepening and expanding the soundscapes while bringing forward a much more assertive presence behind the microphone and cleaning up some of the clumsier songwriting. It's definitely a solid record that showed Lykke Li was a force in indie pop to be reckoned with, and I was psyched for her newest album I Never Learn, not just for the album but for the potential mainstream breakthrough it could represent. After all, she was only getting better and if there was a time where minimalist, melody-driven indie pop could have a crack at the mainstream, it'd be now. As great as 'I Follow Rivers' was - and make no mistake, that song's amazing - it came out in 2011, the charts were still locked in the club boom, they weren't ready for Lykke Li yet. So, I picked up her newest album and gave it a few listens - is this the smash for which we've been waiting?

video review: 'sheezus' by lily allen

Well, glad I could finally get this out. Fascinating album and definitely worth listening through if only to talk about it, because I get the feeling this one will inspire some real debate.

Okay, Lykke Li up next. Stay tuned!