album review: 'sounds good, feels good' by 5 seconds of summer

I almost feel obliged to talk about 5 Seconds Of Summer at this point.

See, the more I hear their singles and look at their cowriters, the more I'm seeing a group that's at least trying to head in a more interesting direction in revitalizing the pop rock and pop punk of the late 90s and early 2000s, which stands in stark contrast to everything else on modern pop radio. When I originally covered their debut EP, I didn't see much beyond a middling act who was playing to younger audiences who didn't otherwise grow up with Sum 41 or Blink-182 or Green Day or The Offspring in the same way, but their self-titled debut album did have some promise. I figured if they went with rougher production, brought some of their real instrumental chops to the forefront, and maybe tightened up the writing a bit, they'd have a shot at some staying power.

And going into this record, I had every reason to believe that was happening. Yeah, the lineage to previous mainstream-accessible pop rock and pop punk bands was pretty obvious and you could definitely argue they weren't reinventing the formula or rising above their forebears, but they weren't bad successors. And to further give them credit, they were working with songwriters from All Time Low and Good Charlotte and even Evanescence, all of which gave me the impression that if the band took the opportunity to get rougher instrumentation, they might pick up some darker subject matter along the way - hell, 'Jet Black Heart' seemed to indicate they were taking some cues from mid-2000s emo, at the very least. In other words, I was hoping this would at least be an improvement on their debut, rock a little harder - was I right?

video review: 'astoria' by marianas trench

Man, this review was so satisfying to do. Such a great band, they definitely deserve more recognition.

Anyway, next up... hmm, I've already got a review filmed and I just need to polish up editing, but I think I have the perfect idea for a follow-up here...

album review: 'astoria' by marianas trench

This is one of the big ones, folks. This is one of the albums I've been looking forward to all year, from a Canadian pop rock band that's been quiet too long. A group that may have started with a debut that seemed to come at the tail end of a commercial boom before quietly becoming an absolute powerhouse up here with hit after hit after hit. A group that for no adequately explained reason has ever really crossed into the US even despite having irrepressibly catchy songs, solid production, excellent songwriting, and one hell of a frontman. Why is that?

Honestly, I'm not sure. I'd argue a big factor was distribution - the band's star-making, damn near classic record pop rock Masterpiece Theater didn't hit the US until September of 2010, over eighteen months after it was released in Canada, and while we couldn't get enough of them across 2011 and 2012 with the excellent record Ever After, the US charts were in a profound state of turbulence in the collapse of the club boom, I'm not really blaming them here. Thankfully they got that settled through a deal with Cherrytree and Interscope, but a bigger part of it is that Marianas Trench were a different sort of pop rock act, taking much of Fall Out Boy's theatrical ambitions and writing and marrying it to a far more lean and melodic sound, trading the obnoxiousness for populist cleverness. By their second album they had built a three-act structure for a loose conceptual framework, by their third album they embraced all-out narrative storytelling, and after the EP Something Old/Something New that contained satirical tracks like 'Pop 101', one could think that Josh Ramsay's writing was in danger of disappearing up its own ass. But I wouldn't agree here, and when I heard the loose conceptual framework behind their upcoming record Astoria, instrumentally inspired by 80s fantasy and adventure films, I realized we might have something so damn earnest that it transcends irony or satire and just becomes flat out epic - and that's not a word I ever use lightly. So you can bet I was psyched to hear Astoria - does it live up to my high expectations?

billboard BREAKDOWN - hot 100 - october 31, 2015 (VIDEO)

And this was surprisingly easy to get done - either I'm getting better at editing or filming these, or positivity just works for me.

Next up... ooh, I've got a good one coming. No, not that one, the other one....

billboard BREAKDOWN - hot 100 - october 31, 2015

You know, when I looked at the Billboard Hot 100 charts this morning, I was astounded: because this week scanning through the returning entries and new arrivals, I could find little to complain. Even the songs I didn't like as much weren't so much bad and in a worse week would easily miss the bottom spots, whereas for the best we got a plethora of solid to genuinely great songs. Now I'm not too optimistic to expect this'll last in the long term, but weeks like this always give me a little thrill of hope: maybe the air is shifting as we come into the last weeks of 2015, you never know!

video review: 'confident' by demi lovato

And that's two tonight. Going to crash now, barely conscious. 

Next up, Billboard BREAKDOWN, and then I will hopefully get to talk about one of my favourite ever bands - stay tuned!

video review: 'the documentary 2 / the documentary 2.5' by the game

God, this took so long to finish. Definitely happy with how it turned out, but still... so long.

Next up in hopefully less than an hour, Demi Lovato - stay tuned!

album review: 'confident' by demi lovato

You know, throughout the course of Billboard BREAKDOWN I've come develop an odd dislike for a certain type of pop anthem, the sort that has only gotten more popular in recent years due to the return of sleepy, sanitized easy listening pop: the 'self-esteem anthem'. Now of course the broad concept can work and still have some emotional power: we all have low points and can be inspired by the right tune that pulls our spirits skyward, but there's a key element I've seen missing in so many of these songs that really bothers me: a sense of drama. In the best of cases, you get the feeling that the person who is singing is speaking with real purpose and populism to address a real wrong, or that they themselves have pushed through the crisis and are all the stronger for it. And what's even trickier is that there's no one formula to make it work: sometimes it's in the writing, sometimes the melodic swell, sometimes the expansive production, but most of the time it's in the performance.

And one of the things that tends to annoy me so much about many of these performances is how 'safe' they feel. There's nothing raw or fiery in the delivery, nothing that gets the blood coursing or show that the performer has ever been through the situations that might deserve such an anthemic response. For an easy comparison, let's take two songs from Christina Aguilera, an artist I don't even like: 'Beautiful' and 'Fighter'. Now you can argue that after Mean Girls you can't take 'Beautiful' seriously anymore, but there was a populist fervour to the song that's hard to fake, especially in comparison with far weaker entries like 'Firework' by Katy Perry. And hell, 'Fighter' is just awesome, half because it actually anchored itself in rock guitar and half because Christina sells it with a raw explosive energy that feels believable. Place a song like Rachel Platten's gutless and completely generic 'Fight Song' against it, and you realize a.) what real vocal charisma and power sounds like and b.) wow, Christina really has mismanaged her career over the past decade.

So let's talk about Christina Aguilera's spiritual successor: Demi Lovato, another former Disney starlet with a huge voice that unfortunately makes every song sound like hard work. Now it's taken me a long time to come around on Demi Lovato, because while I liked her 2013 album DEMI for the smarter-than-expected content and some solid hooks, there were way too many structural problems in the rushed composition, by-the-numbers production, and underwritten lyrics to really be excused. But DEMI has always felt like a transitional record to me, a stepping stone to when she's step out as the vibrant, fully-formed pop star that she is. And with the lead-off singles for Confident, I got the impression that Demi had not only grown as a more expressive vocalist, but had picked up the explosive, pop rock-edged instrumentation that's a natural fit for her vocal tone - and since a new Pink or Ke$ha album don't seem likely for the near future, I prayed we'd get something of quality to fill that female-driven pop rock slot that's been vacant on the Hot 100 for too long. Did Confident deliver?

album review: 'the documentary 2 / the documentary 2.5' by the game

Let's talk a little about double albums. Now I've covered a fair few double albums this year, most notably 'Summertime '06' by Vince Staples and 'The Powers That B' by Death Grips. And in both of those cases, I was left feeling that positioning them as double albums might not have been the best decision as they both could be slashed down to tighter single records with less filler - or in the case of Death Grips, they could have just stuck with Jenny Death. Now don't get me wrong, I'm not averse to the double album as a concept - one of my favourite records of all time, Ayreon's The Human Equation, is a prime example - but even Arjen Lucassen struggled with his double album The Diary under The Gentle Storm namee. Yeah, I can appreciate making both a heavy and light version of each track and then encouraging your audience to mix and match, but that could have been a much tighter release.

So when I heard that west coast MC The Game wasn't just releasing a sequel to his critically acclaimed record The Documentary, but structuring it as a double album release called The Documentary 2 and The Documentary 2.5 - yes, I know each disc was released a week apart, but it's a double album, let's be real here - I was seriously worried. Even assuming the best case scenario that each of the hour-plus discs would come together, the odds of this project being just an exhausting endeavor to work through seemed likely. And even though Blood Moon: Year Of The Wolf wasn't apparently a full project from The Game, instead more of a compilation, it was hard to overlook that it was a fragmented mess that had too many guest stars and opted for way too much style over substance.

But then again, maybe I'm being unfair. Many people absolutely loved the song The Game effectively made his own on Dr. Dre's Compton, and considering he was directly positioning these records as sequels to the one that made him huge, I had some hope this could work. Of course, he also brought out all the stops as hip-hop's best networker since Master P, and on this double album we have Kendrick, DeJ Loaf, Ice Cube, Dre, will.i.am, Fergie, Puff Daddy, Ab-Soul, Q-Tip, Future, Kanye West, Drake, Snoop Dogg, Anderson .Paak, Jay Rock, ScHoolboy Q, Nas, Lil Wayne, Scarface, DJ Quik, E-40, Ty Dolla $ign, YG, King Mez, Jon Connor, and Busta Rhymes, and those are the names I immediately recognized... although considering his hype and his Blood affiliation, I'm shocked Young Thug doesn't show up. So I expected this to be an overlong, bloated mess: was I right?

video review: 'halfway' by uncommon nasa

And that was two in one night. Okay, I might need a day off - mostly because these albums from The Game might take a bit of time to clean through. Over two hours... well, we'll see. Stay tuned!

album review: 'halfway' by uncommon nasa

Goddamn it, how does this keep happening? It seems like when it comes to rappers who dropped great albums in the late summer, early autumn of 2014, I'm just late to the party here!

Now to be at least a little fair here, I get the feeling the majority of people were late to the party with Uncommon Nasa. New York MC, a member of The Presence in the late 90s, affiliated with Def Jux and El-P throughout the early 2000s, he founded Uncommon Records and has steadily been cranking out experimental, rough-edged hip-hop albums, either under his name or the alias Adam Warlock. And if you go digging through his featuring credits across the past fifteen or so years, you'll see enough cosigns to respect his credentials as a thoughtful, articulate MC, but what impressed me a lot more was the production. I was reminded a little of Ratking in terms of the unmistakable New York focus, and dense, clattering textures, but Uncommon Nasa was more conceptual in his writing, not quite as blunt and immediate but just as skilled in creating a starkly vivid, gritty picture. It wasn't always easy material to approach - his flows could run a little off-kilter and sometimes the mix could get a little cacophonous for its own good, but with Land of the Way It Is and especially his critically well-received and fascinating 2014 record New York Telephone, he definitely stood as a veteran that it'd be worth keeping an eye on.

As such, when he approached me directly to cover his 2015 album Halfway, I was all the more interested - how did it turn out?

video review: 'unbreakable' by janet jackson

...you happy now?

I kid, really, I actually enjoyed this way more than I was otherwise expecting. But it's not the only review dropping tonight, so stay tuned!

album review: 'unbreakable' by janet jackson

Well... okay, sure, why not?

You know, I'm surprised there was so much demand for me to cover Janet Jackson. I guess I shouldn't be, considering that for a good decade from the mid-80s to the mid-90s, the queen of R&B was cranking out albums that could easily be held up as high points in the genre - and keep in mind her brother Michael was just as active in this period. From the autobiographical Control that saw her seize control of her career to the more political and surprisingly relevant Janet Jackson's Rhythm Nation 1814 in 1989 to the more experimental and sexual Janet in 1993, there was a period where Janet Jackson could do no wrong in her blend of incredibly tight pop and R&B. And the amazing thing is that these albums hold up - yeah, there are some synth tones and drum effects that sound dated, but not nearly as many as I was expecting.

But then R&B faded away from prominence in the late 90s and by the time it came back in the 2000s, Janet Jackson was still charting hits, but the critical acclaim wasn't coming the way it used to... mostly because the albums were of middling quality at best. The records were getting raunchier and that does work for a certain thrill, but at some point it just started feeling overdone and repetitive. It didn't help her career took a body blow thanks to that Super Bowl performance - of which the reaction was way blown out of proportion and says way more about puritanical American culture than anything else - and her albums throughout the latter half of the 2000s seemed all the more desperate to retake the spotlight. But by then R&B was fading out in favour of pop again and in 2009, the brother who had always hung over Janet's career in the eyes of the public died tragically, so Janet took a break from recording new music. Instead, she did some work for film, stage, and philanthropy, got a divorce and remarried, and only returned with a new album released on her own label this year.

And to some extent I had no idea what to expect. For as influential as Janet has been throughout the course of her career, modern R&B is a very different place than it was in the 80s or 90s or even 2000s, and I was concerned how her breathy vocals had managed to last under the wear of over thirty years in the industry. But when I heard 'No Sleeep', the lead-off single for this album, I had every reason to believe there'd be quality here - and frankly, it's only been my insane schedule that's prevented me from covering this sooner. So how is Unbreakable?

video review: 'for you' by frankmusik

So yeah, fun review. Damn shame I couldn't film another one tonight, thanks to the celebratory noise (and me living in downtown Toronto - GO JAYS!). But rest assured, that Uncommon Nasa review is on the way, plus something you guys have been requesting - stay tuned!

album review: 'for you' by frankmusik

Oh, I've been looking forward to this one.

See, I think it was more coincidence than anything that I decided to pick up Frankmusik's 2014 album By Nicole, figuring there was bound to be quality given his work with Colette Carr. What I didn't expect was tightly written, explosive synthpop backed by the impressively raw vocals of Vincent Frank, where as pop music was getting more polished and reserved he was doubling down on intense passion... which could get a little awkward considering it was, for all intents and purposes, a breakup album. Because believe me, when By Nicole worked we got killer songs like 'Misdemeanor' and 'Uh Oh' and 'These Streets' and 'Call To Arms' and 'Conclusions', the last two being some my favourite songs of 2014... but as a whole, it felt a little too overwrought for the material it was trying to tackle and could have afforded a little more subtlety to undercut the bitterness.

But that said, even despite its flaws By Nicole hit enough high points that when I heard Frankmusik's new album For You was grounded in more contentment, pitching the bitterness and grief to the winds, I was definitely interested. After all, 'Call To Arms' was probably the simplest song on By Nicole in terms of being a raw, straightforward pump-up track, but it was also the best - if he could throw together a pop album of tracks like that, he could have a smash hit on his hands. So I had high hopes for this album, and pretty high expectations too - did For You deliver?

video review: 'new bermuda' by deafheaven

Well, this was outside of my usual comfort zone! Can't say I'm complaining, I really had a ton of fun filming and making this review.

Next up... well, I've got a few options ready and waiting, let's go for something a bit more obscure. Stay tuned!

billboard BREAKDOWN - hot 100 - october 24, 2015 (VIDEO)

Well, that was easier than usual! It's nice being able to complete an episode without completely losing your entire project.

But moving on from that, I've got another review coming tonight, so stay tuned!

album review: 'new bermuda' by deafheaven

I can imagine there are a whole load of people who are looking at me doing this review right now and rolling their eyes. "Of course he's doing this review - some pasty white guy who spends most of his time talking about every other genre besides metal now is going to talk about Deafheaven? What does this Toronto hipster who spends more time listening to hip-hop and country know about black metal, so of course he talks about the least kvlt black metal act, the type that gets all the Pitchfork brats squealing that they're redefining the sound when frankly Burzum was blending in post-rock as early as '94 and Alcest was doing it in the mid-2000s and Wolves In The Throne Room were doing for nearly their entire career until they went experimental towards drone on Celestite...

So yeah, I did some of my homework here, but here's the funny thing: for the most part none of it is wrong, and one of the reasons I've been so hesitant to cover this record. Of the genres that I've delved into this year, black metal is one that remains tough for me to appreciate - partially because I've a fan of lyrics and between the screaming and production they can be hard to parse out, partially because, as I've said in the past, nihilistic subject matter only goes so far with me, and partially because I wanted to make sure I grasped the history of the genre before covering this record. And while I will whole-heartedly admit I've still got a ways to go, I think I can speak to why the hipster set went insane for an act like Deafheaven when they dropped the critically acclaimed Sunbather in 2013: melodies, transitions, and production. Yeah, they weren't as brutal or evil-sounding in comparison with some of the heaviest black metal I've heard, and the lyrics tended towards poetic abstraction instead of bone-crunching Satanism, but when the melodies were this good, the transitions this smooth, the atmosphere this potent, and the marketing of the band this accessible, it's no surprise people jumped on board. Now admittedly I wasn't really one of them - I've always been more of a progressive metal guy - but I could see why people liked Deafheaven; they weren't reinventing the wheel, but it's hard to deny the compositional skill.

So when I heard their newest record New Bermuda was going to be more aggressive and heavy, it really seemed like the best of two worlds - win back the metal elitists who dismissed them as hipster bait, and scare away the popular crowd who only jumped on board for that reason in the first place. And given that I've never really loved a Deafheaven record - Wolves In The Throne Room and In The Woods... both hit me a little harder, although the latter is more on the prog side - I still wanted to talk about this. So how did New Bermuda turn out?

billboard BREAKDOWN - hot 100 - october 24, 2015

Don't be deceived by this week. Those were the words that were running through my head across this week as the initial sense of relief flooded through me. Yes, no more Drake and Future songs to cover, yes, we actually got more returning songs than new tracks on a reasonably short week, and hell, a song from one of your favourite albums of 2015 came back to the charts. But the more I pored over the charts, the more I got the feeling that the current rising 'stars' aren't exactly on the good side, and we could be in for a world of problems across the rest of the fall.

video review: 'revival' by selena gomez

Well, this record took way too long to cover. That's the problem with albums that are just tepid and bland to cover, they just stall you out and put you even further behind schedule.

But next up, I've got Billboard BREAKDOWN, but let's pray I can crank out another review in the mean time. Stay tuned!