billboard BREAKDOWN - hot 100 - june 27, 2015 (VIDEO)

You know, for a week that was pretty lightweight all things considered, this review was absolute hell to make. Between so many reshoots and that damned video glitch... ugh, I'm just happy it's over.

Next up, I think I'm about ready to talk about FFS or Kamelot before Kacey Musgraves comes through - stay tuned!

billboard BREAKDOWN - hot 100 - june 27, 2015

So here's the mixed blessing of a week like this one. You look at the charts, see that very little actually happened across the board with perhaps one of the smallest numbers of songs new or returning to the Hot 100, and it allows you to breathe a sigh of relief. Finally, something that's pretty light across the board. But then it's the creeping question of whether I'll be able to keep all of this interesting on a week where - gasp - there's little to actually complain about!

video review: 'breathe in, breathe out' by hilary duff

Heh, so this happened. Not a lot to say, but I am happy I did this, it was fun.

Next up, Billboard BREAKDOWN, and then I've got FFS, Sun Kil Moon, and maybe I'll finally handle Kamelot... stay tuned!

video review: 'algiers' by algiers

Nearly forgot to post this. And I really shouldn't have, because the album is fucking excellent.

Anyway, next up... heh, you already know. Stay tuned!

album review: 'breathe in, breathe out' by hilary duff

Okay, confession time: I used to be a huge fan of Hilary Duff.

No, really. Back about a decade ago when I was a teenager and I was listening to Eminem and symphonic metal, I still listened to her. I watched the Lizzie McGuire Show, which on some level has not aged well at all. I watched the movie based off of the show. And perhaps most embarrassingly for a music critic, I listened to her music - and I was a fan too, to the point where I actually saw her live in concert.

And going back to those albums in the early-to-mid-2000s, most of the material is okay at best. Let's be honest, Hilary Duff was riding a wave where young starlets who could pull off a veneer of acoustic pop authenticity could rack up a fair number of hits. And considering Hilary was being backed by Disney and was signed to Hollywood Records, it was clear her handlers were aiming to capitalize on whatever residual buzz she had from Lizzie McGuire to turn out over-produced schlock that frankly Brie Larson was doing better anyway. The funny thing is going back to it, which she does have some real duds - that self-titled album is mediocre at best - her 2007 record Dignity saw her move in more of a electronic dancepop direction and it worked pretty well for her, as she had writing credits across the board. For me, I always got the impression she was a better writer than actual singer - she didn't have a ton of presence as a vocalist, and unlike Britney Spears, she wasn't about to pile on effects to compensate for it. 

And yet as dancepop was set to blow up with the club boom in the late 2000s, Hilary Duff left pop music entirely for a good eight years. She got married and divorced, had a baby, and did a lot of acting for TV and independent films, mostly in an effort to ditch the more wholesome Lizzie McGuire image. The interesting thing is that while her career hasn't been stellar by any stretch, she also hasn't had the stage of running wild and flaming out that hit other teen stars of her era like Amanda Bynes and Lindsey Lohan, which gave me the impression that the down-to-earth elements of Hilary's writing actually had some authenticity. But at the same time, until the requests started pouring in, I had no interest in looking into her most recent album. For one, she only had writing credits on a third of the record, and for another, it looked a bit like a cash-in, to rope back old fans who want to recapture those glory days almost a decade ago. Hell, that's why I'm here, so I took at look at Breathe In, Breathe Out - is it any good?

album review: 'algiers' by algiers

There are some genre fusions that sound so insane that you'd never expect to see them work. Ambient music and country, for instance, two genres that rarely have ever crossed... until Devin Townsend created Casualties of Cool, one of the best albums of 2014. Or take, say, the entire genre-mashing careers of twenty one pilots, and they put together Blurryface, one of my favourite records of this year. My point is that oddball genre fusions can blow up in your face, but they can create something special and defiantly unique, especially in a world where the internet has proven anyone will try anything once.

But then there are the genre fusions that the second I heard about it, it made way too much sense, the sort of material that made me sigh and wish that I had thought of it first. Algiers falls into that category, an American band from Atlanta reportedly fusing post-punk, gospel, and industrial sounds for a distinctly unique debut to be released through Matador Records, the same label that's been responsible for giving us Savages and Iceage. And really, considering how much post-punk and goth culture crossed over in the late 70s and 80s, with the latter incorporating so much religious iconography it's not surprising Algiers might take a stab at pushing through a less classical and more gospel-inspired take. And given how strong the critical reception has been, I decided to give it a look - was it worth it?

video review: 'beneath the skin' by of monsters and men

Eh, I do wish this was better, and I'm not sure how long it's going to stick with me, but still damn solid.

Okay, Algiers, FFS, and Sun Kil Moon for sure, but there's this Hilary Duff album that a part of me really wants to cover... eh, we'll see. Stay tuned!

album review: 'beneath the skin' by of monsters and men

I didn't expect to get as many requests to cover this album as I have.

And on some level, that's exciting, because it meant that Icelandic band Of Monsters And Men had somehow managed to make an impact in popular culture beyond just 'Little Talks', the song that somehow managed to chart just high enough to lodge a place on the pop charts in 2013, two years after it was released. And I'll admit, it was off of that song that I dug into their pretty damn solid debut album My Head Is An Animal. Now to put things in perspective, the reason 'Little Talks' did as well as it did was because Of Monsters And Men had fortuitous timing - the folk boom was kicking into gear, and they had the benefit of a horns section, potent melodic grooves, and interweaving male and female vocals to stand out from the crowd and especially from Mumford & Sons. Of course, the huge benefit that Of Monsters And Men also had was a wind-swept haunted swell to the production, some noisier electric guitars that never compromised the texture, and pretty damn solid songwriting that wasn't afraid to get weird in terms of a more feral brand of poetry. Or to put it another way, there's a reason why 'Little Talks' ran away as my favourite hit song of 2013 - because it's goddamn amazing.

So why haven't I been jumping all over their sophomore release? Well, part of it was a certain amount of trepidation: I wasn't initially wild about their opening singles, and early buzz wasn't great, especially emphasizing that the album reportedly had more filler. This was a concern for me, because if I were to level one big complaint with their debut, it'd be that their sound can have a certain uniformity to it if the songwriting or melodies don't stand out. It's not a bad sound by any stretch of the mind, but it can get a little repetitive. 

But look, I still like this band, so I dug into their sophomore album Beneath The Skin - was it better than expected?

video review: 'surf' by donnie trumpet & the social experiment

Oh, I can predict this review will piss off a lot of people... eh, it happens.

Next up, not quite sure yet, either Sun Kil Moon or Algiers. Stay tuned!

album review: 'surf' by donnie trumpet & the social experiment

Oh, I've been getting a lot of requests for this one.

And I'm not surprised either, because if we're looking for rappers who many have asked that I cover in some way, shape or form, Chance The Rapper would be near the top of that list. With an off-kilter, free-flowing style and wordplay that seemed to skitter across rhymes and concepts with effortless ease, Chance built a ton of buzz with his breakthrough mixtape Acid Rap in 2013, and while I didn't love that tape, I did appreciate his boundless personality and off-kilter brand of wordplay. The odd thing is that Chance The Rapper tends to get in the way of his best material - either it would come from his production being a little overmixed or his actual content not always adding up to as much as I had hoped.

But then again, when I heard he was teaming up with Donnie Trumpet and several of the producers he had worked with on Acid Rap to create the collective The Social Experiment and they were going to be dropping a record called Surf, I figured it might be a interesting experiment, especially considering this is really Chance The Rapper's first official "album". Something lightweight, fun, and with a frankly stupefying list of guest stars that spanned from Big Sean and Jeremih to Janelle Monae and Erykah Badu, I knew I had to give this record my due consideration. So how did it turn out?

billboard BREAKDOWN - hot 100 - june 20, 2015 (VIDEO)

Completely forgot to post this. Oops!

Next up, Surf - stay tuned!

billboard BREAKDOWN - hot 100 - june 20, 2015

You know, after the past few weeks – and somehow falling behind again in my reviews – it’s nice to actually have a new Hot 100 that’s actually fairly lightweight in terms of new songs, most of which I’ve already heard before in some capacity. It’s one of the breather moments you get as summer starts to settle into gear and the album release schedule eases back a bit, at least for the pop charts.

video review: 'summer forever' by billy currington

Man, I'm glad I managed to get this out when I did - although as expected, RL prevented me from getting this post up earlier. Eh, it happens.

Okay, next up is Billboard BREAKDOWN, and then Surf, so stay tuned!

album review: 'summer forever' by billy currington

Let's talk a little about the whole concept of the 'summer album'. 

Believe it or not, it's a fairly new thing, along with the whole conceit of a 'song of the summer' - sure, music critics who cover the pop charts mention it, but the concept of mass culture talking about it or marketing it can be traced to the internet making the conversation easier. And sure, there has always been lightweight sunny 'summer' albums forever, but the concept of an artist purposefully releasing a record of that material specifically at that time to capitalize on that vibe is a little different. And as a critic, they're surprisingly difficult to talk about. On the one hand, the content tends to be pretty lightweight which means reviewing them doesn't tend to require a lot of digging, but on the other hand, evaluating the record becomes trickier, because the purpose of these records is to be lightweight, ephemeral, and fun in the broadest way possible. They're designed to be enjoyed for a season over pool parties and barbecues, and you can bet by the end of the year most people will forget the songs ever existed. So on some level, evaluating what's considered 'good' summer music is the stuff that persists beyond one season - and that can be hard to pinpoint if you're covering the record before the season has really kicked into gear.

As such, I had a certain amount of pause before covering the newest record from Billy Currington, a country star I've liked but never quite loved. He broke in the mid-2000s, started consistently racking up #1 hits on the country charts thanks to his hangdog, generally affable delivery and for recruiting songwriters that could consistently pump out decent songs. And yet in 2013, he jettisoned the few writing credits he had for We Are Tonight, a pivot towards bro-country that was actually pretty good but wasn't anything I was really interested in revisiting either. It was lightweight, inoffensive, and had just enough personality to stand out - in other words, if it hadn't been dropped in mid-September, it'd be the perfect summer record, the sort of smash that bro-country often seems weaponized to create. And with that in mind - and with the addition of a single writing credit from Currington himself - I figured it might not be bad for me to check out Summer Forever, which buzz was suggesting was even more in that vein. Hell, it could be fun, right?

video review: 'drones' by muse

Well, this was better received than I expected it'd be. Hmm, interesting.

Okay, tomorrow I'm going to try to get the Billy Currington review out, but RL might get in the way, so no promises. Stay tuned!

album review: 'drones' by muse

There's no easy way to talk about Muse. Fans of the band love them for their genre-pushing style, their imagination, their technically potent melodic construction, and Matt Bellamy's uniquely powerful voice. Non-fans hate them for their lyrical pretentiousness or outright absurdity, their self-serious appropriation of progressive, alternative and arena rock tropes without getting the substance, their hyperbolic presentation, and Matt Bellamy's shameless caterwauling, especially in his high falsetto range.

In other words, they're a polarizing group - and unlike most, I tend to fall in the middle, in that they're not a bad group by any stretch of the mind, but they are definitely uneven for me. The odd issue for me across their first four records is that outside of the few songs they have on every album that are just goddamn amazing across the board, they tend to fall into an agreeable confort zone that can start to run together a little. This started to change around the mid-2000s, with the broader embrace of styles on records like Black Holes and Revelations, but it was also where my opinion on Muse tends to get more mixed. Yes, I can appreciate the genre-bending and the worship of progressive rock and especially Queen, but lyrically it often felt Muse was spiralling into a rabbit hole that was interestingly sketched but increasingly incoherent, and the band took themselves way too damn seriously to realize it. In other words, it's the exact same path that so much progressive rock took in its heyday, especially around the tail end of the 70s. Credit to Muse for always maintaining a distinctive sound in the face of going over the top in a half-dozen different genres, but by the time we hit The 2nd Law, I worried that I'd lose my ability to take the band remotely seriously, especially when they got political with the subtlety of a tactic air strike.

And on that topic, I can't tell you how sceptical I was about their upcoming record called Drones. On the one hand, I was a little fascinated that Muse was going for a 'back-to-basics' approach of all things, but I wasn't sure grabbing producer Mutt Lange, most known for producing albums from AC/DC's Highway To Hell and The Cars' Heartbeat City to Shania Twain's Come On Over and Nickelback's Dark Horse was the best way to do it. And let's be blunt, Muse does not do subtle or complex when in comes to their political material, and while I dug their populism, drone warfare and modern geopolitics are kind of hard to boil down into anthems for monstrous live sets. So did Muse pull it off?

video review: 'silverball' by barenaked ladies

Dear god, this was a disappointment. I wanted this to be so much better than it was...

Anyway, next up... holy shit, Muse, Of Monsters And Men, Algiers, Donnie Trumpet & The Social Experiment, Billy Currington, so many albums I want to cover... anyway, stay tuned!

album review: 'silverball' by barenaked ladies

I did not know this album was dropping until a few days ago. And to be fair, I don't think that unless you follow the band anybody knew. There was no single on the radio, American or Canadian, no major review sites south of the border seemed to mention it much, the hype has been nonexistent.

And on some level it's a damn shame and another example of people not giving the Barenaked Ladies enough credit. Breaking out in the mid-90s with an album that's a borderline classic with Gordon, they did consistently well up here until Stunt and Maroon broke them in the U.S.. And then without warning, everything seemed to fall apart. Their 2003 album didn't land them traction in the rougher, darker rock scene of the early 2000s, and pop rock acts that actually had a sense of humour were marginalized. So the Barenaked Ladies did the next best thing - they went independent and continued to put out albums of reasonable quality... until the second blow hit and frontman Steven Page left the band. It was a shadow that hung over the otherwise excellent All In Good Time that was released in 2010 as the Barenaked Ladies grappled with the loss.

Fortunately, by 2013 things had recovered and while I didn't love their 2013 record Grinning Streak, longtime fans of this channel might remember I included 'Odds Are' as my favourite song of 2013 across the board. And I stand by that choice - 'Odds Are' is damn near a perfect pop rock song and the music video made with Rooster Teeth was all kinds of wonderful. But what gave me hope coming out of Grinning Streak was that the band was starting to construct a new identity minus Page, and while the lyrics weren't quite as biting or obscenely clever, there was still a sense of whimsy and underdog charm that was impossible to take away. Sure, there were cracks in the production and writing, but they could refine that going forward, right? And so of course I was going to cover Silverball, and I had high hopes. These guys are Canadian pop rock veterans, and what meagre buzz I could find suggested that this album was even better than Grinning Streak - so did they pull it off?

billboard BREAKDOWN - hot 100 - june 13, 2015 (VIDEO)

Well, the computer crashed twice when uploading this thing, which might be a sign or something.

Next up, something special - stay tuned!

billboard BREAKDOWN - hot 100 - june 13, 2015

Well, that didn't last long. Almost as quickly as it took the top slot, Taylor Swift and Kendrick Lamar were elbowed off the top, and it's not exactly surprising that happened either. Once again, the fight over the top will likely be the biggest story this week, but it obscures what happened below, where a whole load of songs surged up the charts and we got another well-sized crop of new songs - and in a nice change of pace from last week, most of them are actually decent!