video review: '25' by adele

Well, it's good, but I see this review being controversial still. Gah, whatever.

Next up... oh god, Billboard BREAKDOWN and all of the Justin Bieber... hold on, folks, this is going to be a rough start to a new year...

album review: '25' by adele

The year was 2011. The club boom was nearing overexposure in the mainstream, and flashy electro-pop artists were ruling the airwaves. Country was awash in lightweight southern pandering that would degenerate into bro-country, the Young Money crew were ruling mainstream hip-hop, and the indie rock scene was on the precipice of exploding. It was a year in flux, with nobody quite certain what would come next...

In other words, the timing was damn near perfect. People had known about Adele before - a soul singer beloved by the Grammys, known for a remarkably poised if a little tepid debut album that had given us 'Chasing Pavements' - but in 2011 she blew the pop paradigm apart. And while some would inevitably accuse her of middle-brow pandering and that her music was ultimately not as experimental or ground-breaking as many made it out to be - which in retrospect is kind of true - it's also hard to deny that 21 resonated on a deeper level with an enormous audience. And it wasn't just listeners - who made the record the best selling album of the year two years running, bringing impossible profits to Adele's indie label XL - or the Grammy wins and critical acclaim - the success of 21 marked a major shift in pop music. The club boom collapsed, old-school R&B and neo-soul surged back into the mainstream, and pop stars tried to work heavy percussion and reverb to follow the sound even if they couldn't match the emotion.

And here's what I find perplexing: as much as I can see why Adele's 21 resonated with audiences - it's accessible, different without being too weird, powerfully emotive yet with enough class and restraint to get uncomfortable - the album as a whole is a harrowing listen. It's dark and heavy, furiously bitter and heartbroken, and the more you dive into Adele's subject matter the more the complicated swirl of loneliness, rage, regret, and grief becomes hard to bear. And yet even with that it's one of those albums that might work better in pieces than as a whole - there are some wild tonal shifts, a few deep cuts can't quite match the power of the singles, and there are instrumental choices that don't quite fit with the overall atmosphere. In other words, a damn good album, maybe even a great one, but I'm not sure I'd say that it would make one of my year-end lists.

And now four years later, Adele is finally back with 25 - and while I was definitely excited, I had some reservations here. For one, I saw the list of producers: Greg Kurstin, Ryan Tedder and Paul Epworth made sense, they've been working with this brand of reverb-touched pop music for years now, and I could maybe even understand Danger Mouse and The Smeezingtons, given Adele's influences, but Max Martin and Shellback? They only show up on one song, but it was enough to suggest that Adele might be going in a very different direction... and in a sense that's probably the right choice than trying to directly imitate what she did on 21. But the larger point is that Adele is returning to a pop world that she helped shift, and while opening tracks like 'Hello' had a ton of promise, it's hard to follow-up a record that shattered the paradigm like 21 did. There was a lot riding on 25 - did Adele pull it off?

video review: 'i'm comin' over' by chris young

This one hurt a lot. Really wished it was better, but eh, it happens even to our favourites.

Next up, Adele - stay tuned!

album review: 'i'm comin' over' by chris young

So here's a fun question for you all: you're a reasonably popular artist and you catch wind that your genre's shifting in a new direction, riding a new trend. So you hop on that trend and it goes reasonably well, but not quite as well as your earlier material, not quite resonating with your audience in the same way - what do you do?

Well, in the case of Chris Young it's arguably pretty simple: you pivot back to what you were doing originally and keep up the routine - you've arguably got the easiest transition path, especially if you take a firmer hand in the songwriting. And if you look at Chris Young's career trajectory over the past four or five years, that's exactly what he's done. Hitting it big in the latter half of the 2000s with a slew of #1 hits, he hopped onboard the bro-country trend for his 2013 album AM, hiring the best of Nashville's songwriting machine to blend his brand of neo-traditional, adult-contemporary leaning country music towards what was cresting in the mainstream. And yet even despite making what I'd deem as one of the best bro-country albums with some of my favourite country songs of 2013, it wasn't an album that produced the sorts of hits previous records like The Man I Want To Be and Neon had. And in a way that makes sense - Chris Young has always been more of a mature romantic, not the sort of guy that would play well with debauched party tracks. It definitely helped matters that he seemed like a stand-up guy, so that when rumours leaked about him being involved in Blake Shelton and Miranda Lambert's divorce, Young shot them down so emphatically that I'm inclined to believe him.

So for his upcoming album, Chris Young seemed to be doing everything right: he cut his writing team down to a solid essential team, took more of a songwriting role than he had ever done in the past, and with the lead-off single and title track made it very clear he was transitioning back to modern yet neotraditional country. Hell, he even picked up Vince Gill for a duet, along with Cassadee Pope, an artist I legitimately forgot existed since I reviewed her last record two years ago. For a mainstream country release, he was doing everything right and while I didn't expect this would be better than, say, Mr. Misunderstood by Eric Church, I had some hope this could turn out well. Was I right?

video review: 'damn country music' by tim mcgraw

Well, this was a pretty quick review, but that happens when there's not a lot to it.

Next up, Chris Young, and then since I forgot the album was dropping early, I'll be talking about Adele - stay tuned!

album review: 'damn country music' by tim mcgraw

It's rare I talk about titles when I review albums. Mostly because the title of an album only occasionally operates as a picture into what the album really is, and often times not even that.

But when a respected and established country hitmaker for the past twenty years drops an album titled Damn Country Music, I sit up and take a bit of notice. Not that much notice - this is Tim McGraw after all, a guy who in his entire career has never been a hellraiser, typically performing very polished, very accessible country music. And it's also not like he wrote a single song on this album - most of that at this point is being handled by the Nashville songwriting machine who have long recognized Tim McGraw as a consistently bankable star.

But I have to admit I was curious regardless, but the country music industry hasn't been kind to Tim McGraw behind the scenes. To keep him locked under contract his former label Curb Records shovelled out compilations and greatest hits albums instead of fresh material, and ever since he tore away to land on Big Machine, he's been working to crank out fresh material, with a record each year for the past three years. Now I covered his album last year Sundown Heaven Town and it was fine enough, showing some steps back towards the neotraditional scene after stabs towards a more synthetic mainstream embarrassed everyone involved, but it was definitely uneven, the moments of greatness balanced out by some truly godawful songs. And I frankly expected something similar here - sure, the album was called Damn Country Music, but I didn't expect Tim McGraw to go all Hank Williams III on us. I expected it to fall in the same vein as his last album - a few stabs at the mainstream, and maybe a little more neotraditional as he steps back into his comfort zone. Was I right?

video review: 'purpose' by justin bieber

I need a break from pop for a bit. Next up will be a few country reviews and then I want to talk Arca and some black metal (FINALLY)... well, at least before Adele comes sweeping in.

Stay tuned!

album review: 'purpose' by justin bieber

You know, there's a running joke among music critics that even if you don't like Justin Bieber, he's easy enough to ignore that you don't need to care about him. And really, if you reflect upon the past six years, even during the initial buzz, that has remained true - albeit for completely different reasons.

I should explain, and let me preface this by stating that I've never been one of those guys who really hated Justin Bieber right from the get-go. Now it wasn't because he was making quality - songs like 'One Time' and 'Eenie Meenie' really were awful, to the point where I've never understood why Usher hadn't contributed more to his creative development beyond a cosign and one okay song with 'Somebody To Love'. But even in Canada Justin Bieber could be easily ignored - it wasn't like he was racking up massive hits outside of 'Baby', which outside of a hysterically bad verse from Ludacris it was generally forgettable. That seemed to change with the release of 'Boyfriend' off of 2012's record Believe, which I actually reviewed on my blog three years ago. And it wasn't even like that record was completely bad either - sure, 'As Long As You Love Me' and 'Beauty And A Beat' were both pretty damn bad and the album really had no clear creative direction where to take Bieber's music lyrically or sonically, but it did provide one legitimately excellent song with 'Maria' that showed if Bieber brought real dramatic intensity and tightness, he could be a real pop star. 

And then for the next two years Bieber proceeded to squander that potential, committing crimes, shooting his mouth off, and acting like one of the most obnoxious teen idols ever to be given a microphone. Now this didn't really surprise me - the undercurrent of petulance and ego had always leaked into his music, but I assumed he'd eventually grow into it a bit. But combined with the sloppy release strategy of the underwhelming Journals that had no singles that lasted on the charts, I had no reason to really care about Justin Bieber anymore, especially when Justin Timberlake had returned and was so much stronger. That changed this year, with the release of 'Where Are U Now' with Skrillex and Diplo and his first ever #1 hit with 'What Do You Mean?'. And while neither of these songs were precisely bad and Bieber seemed to have grown into his artistic persona, he also had shown so little personality on those songs that I had absolutely zero interest in checking out Purpose, especially as the lyrics on every single had been straying into questionable places. But hey, I might as well give the guy a fair shot, and all of you kept asking for it, so how does Purpose turn out?

billboard BREAKDOWN - hot 100 - november 28, 2015 (VIDEO)

To quote one of my favourite comedy groups, we had some... well, we had some times. Yeah, that's it. Times.

But for real, thank you all for sticking around for the first year of this series! It was a lot of work, but I honestly think it was worth it. I've got some ideas how I might want to switch it up in the new year, but we'll see how things percolate out. Until then, I've got Bieber and a few country records, then I can finally dive into some of those black metal albums I've been dying to tackle, so stay tuned!

billboard BREAKDOWN - hot 100 - november 28, 2015

And now we're here - one year of Billboard BREAKDOWN is completed. Over the past fifty-plus episodes I've covered all the eccentricities of the Billboard Hot 100 charts, and it has been an eventful year! Between a switch in release scheduling, the chart-spanning weeks for artists too big to fail, and especially in the last quarter of this year the dominance of Canadian artists at the top that has tested my running thesis that the Canadian charts are always better. And I'll admit it's been a real learning experience for me too. Billboard BREAKDOWN has done a lot to define my channel, and though there have been many, many late nights where I swore up and down that after one year I'd be done with this, I'm going to leave that decision up to you. If you guys want me to continue with Billboard BREAKDOWN or revise the format at all, please let me know in the comments, I'm always grateful for your feedback and your support, especially as it's been the most consistent draw across my entire year.

video review: 'the incredible true story' by logic

And that's two. Between this album and One Direction, wonder which will have more contention...

Okay, next up is the final episode of the first year of Billboard BREAKDOWN, and then probably discuss Bieber. Stay tuned!

album review: 'the incredible true story' by logic

So here's a quandary: you're an up-and-coming rapper who is riding a ton of buzz and you've just dropped your debut album. And while you're getting critical acclaim from some outlets, there are some critics who have come down hard about your flow's resemblance to another more acclaimed MC. And even despite the fact that your production is accessible, even mainstream friendly and your album is selling well, you're not getting radio with any recognizable hits. What do you do next?

Well, there's no easy answer to that question, and for as much as I liked Under Pressure when I reviewed it last year, I was definitely worried about this. I still think the album holds up even despite the easy Kendrick Lamar comparison in his flow, mostly because Logic's brand of smoothness and internally focused introspection does lead to a distinctive personality that I find appealing. But outside of a few songs like 'Nikki' and the criminally underrated 'Metropolis', it's not an album I've found the time to revisit, and I found myself concerned that the 'style-over-substance' criticisms that had been levelled at Logic might have some validity if it wasn't gripping me longer.

So when it came to a sophomore record, when I started hearing the buzz that it would a be a sci-fi narrative-driven concept record... well, if he was looking for a way to stand out and away from Kendrick, this would be the way to do it! Hell, this could be new territory for hip-hop as a genre - I did some research and the closest we'd get here is Deltron 3030, and even with that it hit deeply diminishing returns with the long-awaited sequel Event 2 in 2013. Sure, Big K.R.I.T. took stabs at it with Cadillactica, but not to this narrative level. But at the same time, considering that Logic was going to be handling most of the production himself, this had the feel of an overreach, the sort of ambitious project that could be make or break for a guy like Logic. But hey, I'm a sci-fi nerd and a fan of Logic, so I prayed for the best - did The Incredible True Story deliver?

video review: 'made in the a.m.' by one direction

I'd hate to say 'I told you so'... but truth be told I wasn't even going to do this record until you asked for it, so keep that in mind.

Next up, Logic - stay tuned!

album review: 'made in the a.m.' by one direction

This will be the third time I've reviewed One Direction. It will also probably be the last.

And no, that's not because of any vendetta or grudge I have - I've accepted that their years of teen girl-baiting crap are behind them, mostly left on 2013's Midnight Memories as the guys have grown up and taken more of a role in songwriting. They've gotten older, presumably more mature... and along the way, Zayn left the group. 

And look, I've seen this road before. Having one of your more unique and talented singers of the group exit is never a good sign for boy bands, and the news that One Direction would be going on 'hiatus' after this album sealed it for me. In other words, One Direction were entering the Unbreakable-era of their career, the album made to convince fans that they can still hold things together even minus one member, and it almost always signifies real trouble. Now for the Backstreet Boys that eventually resulted in a more modern pop effort with This Is Us before Kevin rejoined... and yet somehow I don't see that happening. Hell, I can imagine Simon Cowell was probably planning for it too - sales figures have been dropping for each One Direction release, and with an album dropped every year he had know they were approaching burnout. So instead of giving them time off or a little more space to really refine their music, it looks like he's decided to milk the cash cow until she drops.

To put it another way, I was under no expectations this record would be anything close to good. Not only were there less writing credits from the group, but none of the lead-off singles had really impressed me the same way songs like the excellent 'Night Changes' had, so I expected trouble. So how did Made In The A.M. turn out?

video review: 'mr. misunderstood' by eric church

Well damn, I didn't expect this to be nearly as good as it was. Not complaining at all - it's a nice feeling for Eric Church to be on track again, and it's good to put one of my most contentious reviews to the back of my mind for now.

But next up... oh boy, that Logic album is tempting. So let's go for it, stay tuned!

album review: 'mr. misunderstood' by eric church

You know, I've been asked a few times what I think are my worst reviews, or any that I regret. And here's the thing: over the course of nearly doing 500 of these things, you're going to encounter reviews where you look back and just wince a bit - maybe a bad turn of phrase, maybe a slip of the tongue or error in song interpretation, or maybe just an album that has grown or cooled on you over time that makes your review not reflect your feelings now. Now here's the thing: that happens. It's only human for opinions to evolve over time with more information or with changing emotions or even just the passage of time, and reviews being a snapshot of how one feels at a specific moments only further highlights how subjective they really are.

And as such, when you pair all of those factors with an album designed to court controversy with a major shift in artistic direction... well, those are the reviews that tend to spark the most vitriolic reactions... which takes us to Eric Church. I'll wholeheartedly admit my review of his 2014 album The Outsiders is not my best, and when combined with an album that showed Eric Church trying to bend country music in so many different directions, you got a mess all around. It didn't help matters that Eric Church is a contentious artist, drawing on tropes of outlaw country and some interesting songwriting ideas but playing them with little subtlety in the writing or instrumentation. Granted, if I were to reflect on the biggest miscalculation of The Outsiders, it'd be the overwrought, leaden production, courtesy of perennial frustrating producer Jay Joyce.

And as such, when I heard the two had teamed up again to deliver a surprise album of all things, delivered first to registered members of his fan club with ten new tracks not even cracking forty minutes... well, I wasn't sure what to expect. When you consider the record was cut just a few months back and slipped out as a complete surprise, you could either view this is Eric Church satiating his fans with something quick, or him attempting to pull a Beyonce, which he might have been able to do if it wasn't for Chris Stapleton's huge CMA success launching his sales into the stratosphere. But I already reviewed Stapleton's Traveller months ago, so what do we get with Mr. Misunderstood?

video review: 'art angels' by grimes

Well, this was a hard one to crack. Lot of listens, but I think I finally got it.

Next up, it's about time I revisit Eric Church. Brace yourself, folks, and stay tuned!

album review: 'art angels' by grimes

You ever encounter one of those artists that seems to operate so much on their own wavelength that it's difficult to get a clear inroad to how to perceive or understand their art? As a critic, these are always some of the most frustrating acts to discuss - and for the longest time, Canadian electronic artist Grimes seemed to fall into that lane for me. 

Now I've been aware of her existence for years now - I first heard fragments of her music in university when I was going through my darkwave phase, and I've made several attempts over the past five years to try and untangle her artistic persona. On the surface, it might be easy to slot her into the spacious, airy side of dream pop with sparse beats and lots of dark misty atmosphere, somewhere between Enya with a splash of the more eclectic electronic percussion that some have compared to Bjork. But Grimes was more lo-fi and ragged in her presentation, the sort of Garageband-produced material that seemed so fresh online in the late 2000s before everyone started doing it, and the half-heard nature of her vocals and lyrics made things even tougher. I still find her debut record Geidi Primes perversely fascinating, mostly because the deeper reference points to Dune feel simultaneously incomprehensible and yet perfect all the same, the sort of deeply eccentric passion project that you can tell she had zero expectations would catch on. And I'm still trying to make heads or tails out of Halfaxa, which felt less esoteric and alien than her debut but no less impenetrable. I could sketch out reference points to the weirder edges of synthpop, electronica, and indie R&B, but Grimes seemed to exist in her own universe and my grip on it felt tenuous at best. I mean, I liked it, but I had the feeling if I understood it more, I'd like it that much more.

So did things get better with Visions, the first album she released under indie label 4AD? Well, while it might have cleared away some of the lo-fi blur to focus more on the distinctive ghostly electronic scratch paired with more textured percussion, but it seemed like some of the sense of alien mystique was missing. I'm not going to deny that Grimes could handle electro-pop, but the atmosphere wasn't quite as potent. Don't get me wrong, the mid-section of that record comes close to recapturing that feel, but it couldn't help but feel a little individuality had been lost - especially considering that it didn't translate into more of her work being comprehensible! So when I heard things had been cleaned up even more for her newest release after she had scrapped an album that was too dark and negative, I was curious to see where she'd take Art Angels - what did we find?

billboard BREAKDOWN - hot 100 - november 21, 2015 (VIDEO)

And just think of it, the day after I try to edit a video down just below fifteen minutes, the copyright strike is retracted. GAH.

Anyway, next up is Grimes, so stay tuned!

billboard BREAKDOWN - hot 100 - november 21, 2015

No time for introductions this week - busy week, we'll get to more details surrounding the influx of new country when we get to it, if I want to keep this episode under fifteen minutes because of this goddamn copyright strike, gonna have to go fast!