album review: 'angels & alcohol' by alan jackson

Those of you who have been following me for a while know I'm a fan of Alan Jackson. Hell, when he dropped The Bluegrass Album back in 2013, it even landed on my list of my top albums of that year. And in that review, I struggled to articulate why Alan Jackson worked so damn well for me as one of my all-time favourite country singers. And since I grew up in the 90s listening to country radio, I doubt I'm all that unique there.

But about a year and a half later, I think I've managed to come to more of a conclusion in this particular category: consistency. With rare exceptions - his two gospel albums, the Allison Krauss-produced record he made in the mid-2000s, and of course The Bluegrass Album - Alan Jackson's material is oddly timeless to me, especially when it comes to the impressive line of classics he wrote himself. Since he started cranking out critically acclaimed records in the 90s all the way to now, he's had an impressive stream of quality for nearly twenty-five years - to the point where there'll be critics who find it hard to criticize him beyond, 'Well, he's in his comfort zone, he's done that before'. And to some extent, they're not wrong - produced by Keith Stegall, neotraditional country that doesn't shy away from rough subject matter that's always written with a deft touch and presented with boundless charisma and heart, it's definitely not cool music, but it doesn't need to be. And sure, he drifts away on occasion to the same lightweight beach material you'll see in a Kenny Chesney or Zac Brown Band album, but Jackson tends to infuse it with enough charm or humour that it doesn't just become mellow beach fodder, which is always a plus.

But recent years have shown a bit of a shift for Alan Jackson, a restlessness that led to him to part with his longtime label Arista Nashville and set up his own imprint at EMI. It led to his tightest collection of songs in 2012 with Thirty Miles West, the majority of which Jackson wrote himself. Then came The Bluegrass Album, the album he'd been threatening he'd make for years and proved that his threats should been followed through more often. But now we have a new slice of country from Alan Jackson, and you can bet I'm covering it - how did it turn out?

video review: 'dirty sprite 2 (DS2)' by future

I was expecting to be a lot harsher on this album, but it had its moments that did save it from awfulness. Not enough to make me hope for the future, but eh.

Next up, Chemical Brothers or Alan Jackson, stay tuned!

album review: 'dirty sprite 2 (DS2)' by future

I haven't been looking forward to this.

See, most people who follow me know my opinion on Future, a below-average rapper with a bad taste for autotune, a complete lack of interesting content, and an unfortunate knack for picking generic forgettable nonsense for his beats - or at least that was the case for Honest, his 2014 album that I reviewed and panned pretty harshly. And when I did that review, I wondered if I'd ever manage to get Future's appeal, because as an ignorant MC slamming out party bangers, his material has either underwhelmed or annoyed the hell out of me.

But even though Future has been bigger and more influential than ever as an MC, his past year hasn't exactly been good. After R&B singer Ciara called off their engagement and dumped him for cheating on her, Future has been cutting a furious swath of curdled anger across his mixtapes, none of which has made him look good as he embraces his drug-addled hedonism... which could have been interesting or presented a compelling moral if Future's bars and messages weren't so shallow and betrayed an ugly pettiness and that he was still stinging hard from the breakup. None of it had the class and grace of songs like Ciara's excellent 'I Bet', instead preferring to wallow in his own debauchery.

But to his credit, Future was slowly becoming a better rapper, at least in terms of his flow and structuring his bars, and I had heard his newest album, dropped with little-to-no promotion, was planned as a sequel to his breakout mixtape with some of the best beats of his career... well, I'll be honest, I didn't expect it to be good. But hey, I'm not against hedonism if he can at least make it fun, so does Dirty Sprite 2 defy the odds?

billboard BREAKDOWN - hot 100 - august 1, 2015 (VIDEO)

So, that week was pretty lightweight. No complaints, especially considering the rest of things look a little crazy.

Next up... hmm, I'll decide in the morning, I've got a good three or four reviews nearly ready. Stay tuned!

billboard BREAKDOWN - hot 100 - august 1, 2015

So we've now settled into the doldrums of summer, the time of year where everything seems to slow down and nothing all that interesting happens on the charts. The Top 10 was mostly static, not many movers and shakers, and even our list of returning and new arrivals is smaller than ever...

video review: 'something more than free' by jason isbell

And there's the second one. Much happier with this, hope it soothes the Tame Impala thing over.

Next up, Billboard BREAKDOWN - stay tuned!

album review: 'something more than free' by jason isbell

Okay, time for a confession: as much as I can look back on my year-end lists with a certain amount of pride - the amount of work that's demanded for them is huge, and I always love the reception - they're never perfect. Like it or not, I'm only human and I doubt I could listen to or review every bit of music that's released throughout the course of the year, especially considering I still have a full-time job and other projects and the modicum of a social life here. As such, it's inevitable I'll miss something.

And given I've often advertised myself as the 'only country critic on YouTube' - which I can see is starting to slowly change a bit, much to my great satisfaction - the lack of a review for Jason Isbell's critically lauded Southeastern in 2013 stands out like a sore thumb for me. Formerly a member of the Drive-By Truckers before going solo, he teamed up with Dave Cobb for a quiet, understated, incredibly well-written and powerful album that had a level of detail and poignancy that's rarely matched - and if there's an album that would have had a shot at overtaking one of the spots on my year-end list for 2013, Southeastern would have been it. It's not perfect - as much as I think 'Live Oak' and 'Elephant' and 'Yvette' are fantastic, they have to counterbalance the tonal whiplash of 'Super 8', and that's a tough balance - but it would have been close.

And though Jason Isbell has been lauded in the country scene for over a decade now as a fantastic songwriter, Southeastern won him more attention than ever. There were even reports that The Voice had tried to recruit him as a contestant, which he wisely declined, instead working on a new solo project Something More Than Free. So while of course I'm going to cover it now, part of it almost feels like penance for shortchanging Isbell in 2013 by missing Southeastern - penance I'm more than happy to do, especially if this album is as good. So, is it?

video review: 'currents' by tame impala

Well, I can't imagine this review will go over well. Eh, those happen.

Next review coming in a bit, stay tuned!

album review: 'currents' by tame impala

So here's one of the frustrating things about being a music critic who still has a massive backlog - as much as I try, I can't cover everything within the course of a year, and you occasionally miss things or listen to albums out of chronological order. And on the one hand this can be rewarding as you can go back and listen to the classics and hear the musical elements that eventually became influential. But on the other hand, it also shows how some of said elements were further expanded or explored by other groups and you don't end up with the same appreciation of the 'original' article.

Want an example? I originally heard of Tame Impala back in 2012 when they showed up on the collaboration album The Flaming Lips and Heady Fwends, and of the many, many acts that showed up on that album, their contribution wasn't exactly one that stood out all that much and I consequently never really bothered to delve deeper into the group. So when I started getting requests to cover them this year, it was really my first time exploring them in-depth, and I was definitely excited to see what this critically beloved band could deliver...

And man, I was underwhelmed. I'm not saying Tame Impala or either of their first two albums are bad - as a fan of psychedelic rock, they're very listenable - but the hype behind the group baffled me. The instrumentation was sprawling and languid but rarely brought enough driving groove in the percussion, instead smearing over so many of the melodies and vocal lines with egregious electronic effects that often felt like they muffled some real texture. Yes, Lonerism was definitely an improvement, but not being in love with Kevin Parker's vocals or his lyrics, which could definitely tread into exasperating territory, even if it is intentional, I found it hard to really appreciate them as much as I wanted. And it didn't help that the more I listened through Lonerism, the more I just wanted to go back and listen to Sun Structures by Temples, which brought a much more groove-driven, memorable brand of psychedelia to the table.

But seemingly like every indie band these days, Kevin Parker decided to focus more on a synthpop, even disco-inspired approach for his newest release, shifting from more guitars to synthesizers. Which to me was a little concerning, as the noisier guitar elements were the piece I liked the most off of Tame Impala's first two releases. But hey, maybe it'll mean they'll focus more on giving the melodies more presence, so I checked out Currents - what did we get?

video review: 'twelve reasons to die ii' by ghostface killah

I honestly expected this review would have more to it, given how long it took going through Ghostface's discography, but eh, it happens.

Next up... actually, not quite sure. Fair few number of projects have accumulated, between Jason Isbell, Alan Jackson, LMNO & Mr. Brady, Chemical Brothers, Tame Impala... yeah, I got my hands full. Stay tuned!

album review: 'twelve reasons to die ii' by ghostface killah

Let's talk a little bit about sequels. Specifically, the sequels to concept albums, because especially in hip-hop, the album 'sequel' is nothing all that special, and rarely has anything to do with the actual original piece. Now concept albums are rare enough in hip-hop, but sequels to them are even rarer - and for the most part, not exactly an idea of which I'm all that fond. After all, isn't the point behind a great concept album is that it's self-contained, managed to tell the entire story within the confines of the record? Don't you undercut some of the story's original punch with unnecessary sequels?

And in this case, it makes a little less sense than usual. When Ghostface Killah set out to make his exploitation homage record Twelve Reasons To Die with Adrian Younge handling all of the production, I was initially really intrigued, being a long-time fan of 70s exploitation flicks and of Ghostface Killah, a rapper who has dropped more than his fair share of outright classic hip-hop records both with Wu-Tang Clan and on his own. Seriously, go back and relisten to Supreme Clientele and Fishscale, the man is seriously talented as a wordsmith and rapper, with the sort of versatility and intensity you love to see in great rappers. But more than that, Ghostface was a storyteller, and he had a knack for the hyper-stylized tales of crime and debauchery that'd add a lot of colour to this sort of gangsta parable, where Ghostface is betrayed and killed as a crime boss before rising to slay his adversaries in increasingly gruesome fashion.

And yet I wouldn't say Twelve Reasons To Die is in the upper tier of Ghostface records. For one, Adrian Younge production captured a lot of the eerie vibe but always felt a little too slick and lacking in texture to really nail the grimy, blaxploitation vibe. If I'm being honest, I might like Apollo Brown's soul-sample remix a little more, because even though it doesn't have the same operatic theatricality, it feels more authentic to the era or at least to Ghostface's flow. But the larger problem is that there really wasn't room for a sequel - it's a quick, gruesome, self-contained tale that doesn't really have the overloaded plot you would expect out of most exploitation films of the time. So it begged the question what additional stories Ghostface Killah could tell - or maybe he was just hunting for quick name recognition as he continues to flood the market with project after project. But hey, Ghostface is nothing but imaginative, and I was curious where he'd take this - does Twelve Reasons To Die II hold up to the original?

video review: 'communion' by years & years

Well, this happened. Honestly hoping this record had been better, but it happens.

Next up... honestly, not sure. Probably Jason Isbell, but it'll depend what I feel like in the morning, might cover LMNO & Mr. Brady instead. Stay tuned!

album review: 'communion' by years & years

So it's a tagline on Billboard BREAKDOWN that the 'Canadian charts are always better' - and while I'll be discussing that peculiarity a little later, I wouldn't say it's always completely true. As much as I'm a proud Canadian, I'd be lying if I said that a significant chunk of songs that are bigger hits up here are simply due to early crossover from the UK, where they tend to debut first.

So why isn't the phrase 'the UK charts are always better'? Well, quite simply, the UK Official Charts are goddamn weird. Putting aside the fact they don't have a recurring rule which can mean songs can return to the charts without warning, the smaller population means that weird oddities can surge from out of nowhere to huge success. Sometimes these oddities are awesome, most of the time they're unbelievably annoying, and there are points where I'm baffled who in their right mind thought letting this into the mainstream public was a good idea, but the wild disparity of quality means I tend to be a little wary of hits crossing from the UK.

All of that being said, the initial buzz coming for the newest album from UK synthpop/electronica trio Years & Years was extremely positive, even in a year overloaded with synthpop. The group formed in 2010, and began releasing singles in 2012, but it wasn't until 'King' went to #1 in the UK that I started taking serious notice of them and figured I might as well check out their debut album Communion, which is an amalgamation of several EPs - how is it?

billboard BREAKDOWN - hot 100 - july 25, 2015 (VIDEO)

Man, this one actually turned out pretty well - with the exception of whatever the hell is up with my hair. God, that swoop on the right looks terrible...

Anyway, Years & Years, Jason Isbell, and Ghostface Killah coming up, so stay tuned!

billboard BREAKDOWN - hot 100 - july 25, 2015

Yes, I'm going up a Tuesday - no, not like that. What sort of rampant insanity is this?

video review: 'coma ecliptic' by between the buried and me

So that happened. Honestly hoped it'd be a little better, but eh, it happens.

Next up, well, I was originally going to cover Years & Years, but expect schedules to change...

album review: 'coma ecliptic' by between the buried and me

Oh, I bet there's a whole slew of you that are surprised I'm covering this. 

See, I'll admit that I don't cover a ton of metal outside of a few specific genres, most notably towards the progressive or symphonic side. So my choice to talk about a group that has crossed plenty of genres but probably falls closest to technical death metal probably raises a few eyebrows.

Well, funny story: I got into Between The Buried And Me in university, basically on a couple suggestions that I should check out Alaska and Colors because they were genre-bending masterpieces. But unlike an act like Cynic or Devin Townsend where I immediately found a lot to like, Between The Buried And Me took a fair bit longer to really gel with me - mostly because they're a complicated band known for dramatic switch-ups midsong in tone, tempo, or even genre that could be jarring as hell. I could appreciate the killer musicianship and some underrated and clever songwriting, but finding cohesive songs was a little trickier, especially on their first two releases. But once they had a stable line-up, solidified their sound, and worked out a more cohesive flow, they had the one-two punch of Alaska and Colors. And while I liked Alaska, I goddamn loved Colors - a phenomenally cohesive, strikingly memorable, and powerfully evocative record that grows on me with every listen.

But after those two... well, I did like The Great Misdirect, but I was also getting the impression that the genre-crossing was starting to come at the steep price of cohesion, especially when the writing couldn't always bridge the gap. The album had only six songs, but several went over ten minutes and had enough ideas for a good four tracks apiece. There was a little more focus on the The Parallax records, an EP and full-length released in 2011 and 2012, but the more I listened through them, the more I saw the cohesion just not there as much as it was at their best, and the integration of more keyboards and more electronic segments in their production oddly didn't help. But hey, they were on a new label at this point, maybe their newest album, another concept record, might be able to recapture that old magic. So I checked out Coma Ecliptic: did it pay off?

video review: 'cilvia demo' by isaiah rashad (two year anniversary)

Man, it's been a great two years. Thanks again for all of your views and support, it's definitely appreciated.

Next up, Between The Buried And Me and Years & Years - stay tuned!

album review: 'cilvia demo' by isaiah rashad (two year anniversary)

I have no idea why I didn't cover this in 2014.

Well, okay, I have some idea. This record dropped in late January of last year, and I'll admit I was still very much on the learning curve of album reviews at that time, especially when it came to underground hip-hop. And part of it was a cheap justification on my part - I rarely if ever cover EPs, and Isaiah Rashad had said Cilvia Demo was an EP, even despite being longer than some full hip-hop albums.

But upon reflection, it's one of those records I probably should have covered regardless. Critics following hip-hop are always wise to keep a keen eye on Top Dawg Entertainment, and Isaiah Rashad was one of their first recruits beyond the original four rappers of Kendrick Lamar, Schoolboy Q, Ab-Soul, and Jay Rock, two who dropped solid albums in 2014, one who dropped a near-classic this year, and one who has been keeping us waiting an exasperatingly long time for new material. A southern MC that had a knack for balancing more conscious bars with slightly more hedonistic material, at first glimpse it's almost a little surprising Isaiah Rashad didn't get a hell of a lot bigger in the mainstream, given his style.

And while fellow new arrival SZA generally underwhelmed me with her debut Z, I had some hope going into Cilvia Demo. The reception had been generally positive across the board, earning its fair share of critical accolades and probably only slipping off some lists due to being releasing in January and being forgotten, which can happen if you have a record with more of a subdued vibe. So I definitely took the time to dig deep into Cilvia Demo - was it worth all of your requests?

billboard BREAKDOWN - hot 100 - july 18, 2015 (VIDEO)

Hmm, that episode turned out bizarrely well. Just going to roll with it, hope it continues, especially after how unbelievably shitty yesterday was.

Next up, my album for my two year anniversary! Stay tuned!