video review: 'know-it-all' by alessia cara

Well, this was rougher than expected. Hope for good, expect the worst, and it's a shame this turned out more of the latter.

Next up, Cam, then probably Pusha T if I can get a hold of his album before two rock records to end out the year - stay tuned!

album review: 'know-it-all' by alessia cara

Okay, so whenever you have a big act in the mainstream blow up with tons of buzz, critical success and mainstream crossover, you tend to have acts following behind them that want to cash in. Sometimes it feels natural, a trend that was growing that finally burst through, but more often it's a tad more cynical as otherwise popular acts try to jump on the sound. And in some cases, they might not even have a choice, especially if the label is pushing them in that direction.

But when you have a success story like Lorde's Pure Heroine breaking in 2013, major labels encountered an act that wasn't exactly easy to replicate. Sure, the immediate impact is a whole slew of pop acts who washed out their mixes, piled on the reverb and vocal filters, and focused more on percussion over melody, but they were never really able to capture that same vibe. Lorde's formula was more than just instrumentation, it ran in her smart songwriting and populism, and that's hard to pull off - hell, just look at Halsey's disastrous fumble with 'New Americana'.

As such, I wasn't exactly surprised when I heard that Def Jam had placed a major push behind Alessia Cara, a young Canadian singer-songwriter drawing more on old-school R&B for her debut EP - as you'd expect, given its current popularity. But her lead-off single 'Here' was more reminiscent of Lorde, not just in her thin, slightly husky delivery, but in the subversion of a typical party vibe with overwritten lyrics, to the point where people were legitimately angry it didn't net the same Grammy nominations. Now I wasn't wild about 'Here' when I covered it on Billboard BREAKDOWN, and thus I was kind of reticent about covering this album, especially given the rushed production schedule by her label to push it out before Christmas, but I figured I might as well give it a chance, especially considering how many of you kept asking for it. So how did Know-It-All turn out?

billboard BREAKDOWN - hot 100 - december 26, 2015 (VIDEO)

Well, this happened. Pretty rough week, again, but you've got to hope that once The Voice and Bieber are off the charts, things'll get better, right?

Anyway, Alessia Cara and Cam are next, so stay tuned!

billboard BREAKDOWN - hot 100 - december 26, 2015

Well, so much for the holiday slowdown! This was another one of those deceptive weeks on the Hot 100, where if you were only paying attention to the Top 10, you'd see a lot of stasis - but descend to the lower reaches of the charts and you'll see a whole lot of turbulence, as 2015 continues to flush away, with some pretty huge gains coming up to replace them. The Top 10 might sleep soundly now, but I expect disruption sooner rather than later.

video review: 'chaos and the calm' by james bay

Ugh, man, I wanted this to be a lot better - and yet writing it took so much that I couldn't get out the second review I wanted to today. We'll see if I cover - only a decent album there too...

Regardless, next up is a new episode of Billboard BREAKDOWN, so stay tuned!

album review: 'chaos and the calm' by james bay

So while we're on the subject of Grammy nominations, let's discuss a record that I'm certain some of you are baffled that I didn't tackle nine months ago - because on the surface, the pitch for it would be right up my alley. And frankly, the more I think about it, the more I'm surprised I didn't discuss the debut album from James Bay, English singer-songwriter who drenched his recordings in a blend of Nashville Americana and soul and English folk. He didn't exactly make a critical splash, but he quickly established himself as a charting success, especially in the U.K.

And believe it or not, but I've actually talked about this liquid-voiced singer before, on Billboard BREAKDOWN. More specifically, on the list of acts who were charting hits in Canada, but hadn't yet broken through in the U.S., and in this case it was easy to see why. Up here, we never really lost a workable rock scene, and that meant that indie folk developed a sizeable foothold up here. But really, James Bay's appeal is much simpler than even that: if you were looking for an acoustic singer-songwriter that played to a similar sound as Ed Sheeran but pushed the folk, country and rock sides more than pop, hip-hop, or R&B, James Bay was the artist you wanted. And yet for as much as he was very listenable, he's never really been an artist I've been inclined to explore in detail. Maybe I wasn't wild about how polished his sound seemed, maybe I wasn't as moved by his songwriting as so many others were, but until now, I hadn't really cared to dig deeper.

But apparently the Grammys disagreed, because James Bay is now up for three awards, mostly in the rock category plus Best New Artist. And frankly, I'd hesitate to say he's the frontrunner for any of the categories, either by popular consensus or my own preferences. But to be fair, he's also nominated for Best Rock Album and I haven't covered this record in detail yet - and at the very least, he should be better than Muse or Slipknot, right?

video review: 'sound & color' by alabama shakes

Well, this took way too long to get out.

Next up, another record I missed a few months ago that also got nominated for a fair few Grammys, so stay tuned!

album review: 'sound & color' by alabama shakes

You know, for as much as I say I like blues rock, I don't really cover a lot of it. And for the past few weeks I've been wondering why and I think my answer is that I've got a very specific type of blues rock I enjoy. Dark, moody but with strong hooks, dirty production but not so fuzzed out and lo-fi that you lose the deeper textures, a solid sense of groove, and writing that can rise above some of the unfortunate cliches of the genre. And when you hold so much of it to a high standard like that, you tend to find a lot of bands don't really hold up as well as you'd like.

Take, for instance, Alabama Shakes - although, yes, you could definitely make the argument they're more soul than blues rock, which the band is always canny to sidestep. Now I was planning on covering Sound & Color months ago - the critical reviews were suggesting it was a great record from an upstart act with one hell of a frontwoman in Brittany Howard. But when I dug up their debut album... well, it wasn't that it was bad but I was definitely underwhelmed. Part of this was production that really could have afforded to give them a little more texture and crunch, part of it was writing I didn't think was all that stellar, and part of it was compositions that frankly weren't pushing anything. It was a reasonably solid release and again, Brittany Howard can sing her ass off, but I wouldn't go any further than that.

So fast-forward to now, and Alabama Shakes' sophomore debut has apparently won so much critical acclaim it's up for a Grammy. Now it's not going to win that Grammy - all the signs speak to either Kendrick Lamar or Taylor Swift winning for Album of the Year - but it was enough to think that maybe I hadn't given this band a fair shake. So I decided to dig up Sound & Color and try again - what did we get?

special comment: the wu-tang clan vs. pharma-bro: once upon a time in shaolin (VIDEO)

Okay, regularly scheduled reviews will be returning soon, but I had to do this, had to say something. Next up, some old business to cover, a few more regularly scheduled reviews, and then FINALLY year-end lists, so stay tuned!

special comment: the wu-tang clan vs. pharma-bro: once upon a time in shaolin

In March of 2014, the Wu-Tang Clan made an unexpected announcement: seven years after the release of their last album in 2007, they were putting together a new compilation record. Now it supposedly wasn't produced by the RZA, but it was still a double album of new Wu-Tang Clan, and what's more, the packaging was ornate: encased in a hand-crafted silver and nickel box that would tour the world through art galleries, museums, and music festivals before being sold to a single individual for an exorbitant price. Now sure, the rest of the world was still going to get a new Wu-Tang record titled A Better Tomorrow, that would be released around this time last year to mixed at best reviews, but for hardcore Wu-Tang fans, this was material that they desperately wanted to hear - and yet with the RZA's asking price in the millions, nowhere near enough money to hear it. Now there was originally going to be conditions built into a contract that the album could only be heard at listening parties and not shared or distributed, but eventually the group relaxed these terms so that the album couldn't be resold commercially, so there was a chance that one might be able to hear the album if it leaked.

And yet it doesn't seem like that is likely, because only a few days ago it was announced that The Wu - Once Upon A Time In Shaolin had been sold - to Martin Shkreli, a supposedly brilliant pharmaceutical executive who became infamous online for jacking up the price of an anti-parasitic drug named Daraphim from $13.50 to well over $750 - per pill. I should also add that this is a drug that's utilized for treating AIDS. Nicknamed 'Pharma-Bro' for his obnoxious attitude and confirming abhorrent stereotypes surrounding both pharmaceutical executives and hedge fund managers, Martin Shkreli participated in the online auction for the album and got it for two millions dollars - well under most of the RZA's reported asking prices. And as for the record, Shkreli has said he hasn't listened to the album yet and is 'saving it for a rainy day', or if 'Taylor Swift wanted to hear it or something like that'.

billboard BREAKDOWN - hot 100 - december 19, 2015 (VIDEO)

The upload failed five times. Five times. Well, it's here now.

Next up... honestly, I've got a bit of an old business before I deal with Cam, Baroness, and Cage The Elephant. I guess I might have to cover goddamn Jeremih as well, but before then...

Sure, Alabama Shakes, stay tuned!

billboard BREAKDOWN - hot 100 - december 19, 2015

This is one of those weeks that I can imagine seems slow - the top ten barely moved, only a few new songs, and we even got the return of Christmas songs which imply that the annual winter slowdown is coming into place. But the more I delved into this week, the more I'm seeing some shifts that have real implications down the road - the 2015 charting trends seem to be fading faster than I expected, with the new ones - good and bad - creeping up to replace them.

video review: 'blue neighbourhood' by troye sivan

And that's two...next up? I honestly have no clue, I've got a lot of options to figure things out over the next few weeks before year-end lists.

But before that, Billboard BREAKDOWN, so stay tuned!

album review: 'blue neighbourhood' by troye sivan

I wasn't looking forward to covering this album.

And really, if you took a look at my review of TRYXE last year, you'd understand why. The only reason I covered that EP was because I was overloaded by requests, and even in that case I only remember fragments of that record over a year later - mostly because it took the modern percussion and reverb-heavy brand of modern pop production and paired it with broad lyrical conceits that didn't always land and a vocal performance that I would best describe as adequate. It was a perfectly harmless EP, but that also meant that outside of fragments of 'Happy Little Pill' and 'The Fault In Our Stars', I don't remember it at all. 

So when I started getting requests to cover his full-length debut Blue Neighbourhood, I had no reason to care about this record. But then I noticed a few things: for one, the critics were praising this more than I would have expected, basically being described as a male cross between Lorde and Lana Del Rey. And while of course the latter comparison did not strike any confidence with me, it was the Lorde remark that actually spurred more interest, mostly because all of his collaborators on this debut are other Australian and New Zealand acts, the majority of which I've never heard before. The person I had heard of before was in the songwriting credits: while Sivan had the main writing credit for every song, the name that caught my eye was Jack Antonoff, member of fun. and frontman of Bleachers, one of my favourite indie rock acts to explode in recent years. And hell, all the buzz was suggesting this would be a more upbeat and exciting affair than the tepid slog of TRYXE, so I decided to give Troye Sivan another chance: what did we get?

video review: 'a head full of dreams' by coldplay

Well, given how well the last Coldplay review went, I can't imagine this one going better... but hey, you never know, right?

Next up, Troye Sivan as soon as the upload finishes - stay tuned!

album review: 'a head full of dreams' by coldplay

I don't know how to start this review.

Because let me give you a glimpse into my usual process when it comes to making these. The first bit tends to be written before I've given the album an in-depth listen, often providing some degree of analysis into my thoughts and research about the band before I start delving into the record in detail. And normally it's framed around some topic that I feel will correlate with the album I'm looking to explore, which can lead to some interesting shifts in perspective mid-review, but hey, it happens.

And thus when I sat down to work on this review, my plan was to start with a lengthy digression on what it means for an act to 'sell out' in today's day and age, because I get the impression that not a lot of people understand what it means. No, it's not just a genre shift towards pop - you can sell out while still making the same genre of music - but it's more focused on a band submitting to the songwriting machine to crank out hits. And hell, it's not even always a bad thing: sometimes 'selling out' provides the creative impetus to spark otherwise known skills in the artists in question. But the reason why it tends to be regarded by so many - especially critics of the older generation - as a bad thing is that it reflects a loss of artistic integrity and individuality. And for a critic who will listen to hundreds of records a year, those individual elements that stand out are worth all the more, something that might not be the case for more casual listeners. 

But what happens when you get a band like Coldplay, a band who has always played for populism in broad strokes and has enjoyed consistent mainstream success because of it? Would it be even possible for them to 'sell out', especially considering their newest album A Head Full Of Dreams was intended as the upbeat resolution to the downcast, minimalist, very much underwhelming electronics of Ghost Stories? And sure, they were working with Beyonce and Tove Lo and Stargate, but they were working with pop stars as early as Mylo Xyloto and with mainstream producers like Avicii last year - this isn't anything new. And yet when I checked out their lead-off single 'Adventure Of A Lifetime', I got the impression that despite more personal themes, the change in sound might be enough to fall into that sell out lane. What did become clear is that further investigation would be required - so what did we get with A Head Full Of Dreams?

video review: 'have you in my wilderness' by julia holter

Well, about damn time I got this one out. Took way too long, but again, I wanted to make sure it was done right.

Next up, probably Coldplay, but not tonight - really shitty day, need to take a breather. Stay tuned!

album review: 'have you in my wilderness' by julia holter

It's so easy to forget that not everyone listens to everything, especially when you're not on the Internet. It's a bizarre thing, especially when you live in a city like Toronto and you hang around a circle that likes to stay up to date on trends - and it's all the more pronounced online where anything and anyone can build a following. But when I was leaving a meeting at my full-time job a few months or so ago and said I was going to listen to some Kurt Vile and I got blank expressions. This guy has been a fixture in indie rock for the past decade in multiple groups, and nobody in that room knew who he was. It really throws into stark relief that so many will only listen to the radio or a few personal favourites, and that while I could brush it off by saying, 'Well, I listen to weird stuff', I bet if I played some of the music off that album, it'd be easy enough to like - it's not that inaccessible. A bit off the beaten path, but if the money or push was put behind it, I could see it gaining a little traction on the right stations.

So fast-forward to me listening to Tragedy, the debut album from Julia Holter reportedly inspired by the Euripedes play Hippolytus, an atmospheric project that utilized overlapping soundscapes with absolutely no regard to conventional song-structure or hooks - in other words, far less accessible and the antithesis to radio, the sort of music that's just as difficult to describe as it can be to enjoy, especially if you're coming from the mainstream. And yet there was something oddly beautiful about the record in its brilliant control of atmosphere and mood that I really appreciated.

And yet since tragedy, every subsequent album from Julia Holter has been stepping towards more conventional definitions of songwriting, first with the gorgeous and pretty damn excellent Ekstasis and then a year later with the even better, more intimate Loud City Song, a tribute to the Golden Age of Hollywood musical from 1958 Gigi. And the more I delved into the gleaming, elegant melodies and impressively textured production and impressionistic but surprisingly potent writing, I realized something that I'm sure will piss some of you off: this would be what Lana Del Rey would sound like if she was good at her job, if she avoided wallowing in her own melodrama and simply worked on polishing her vintage sound into something that brought the past to life now instead of simply revisiting it. Granted, she probably wouldn't have the same pop appeal, but with every album, Julia Holter was proving she could probably do just as well in that world.

And two years later, she's coming back with Have You In My Wilderness, her longest gap between albums and another release that's won her huge critical acclaim - is it deserved?

billboard BREAKDOWN - hot 100 - december 12, 2015 (VIDEO)

Well, that took longer than I wanted it to... eh, I'm still getting used to the new format (that's why I made that stupid Cole Swindell mistake... gah, two weeks in a row, get your game together, dude).

Next up, need to tackle some old business before dealing with Coldplay, so stay tuned!

billboard BREAKDOWN - hot 100 - december 12, 2015

It's the calm after the storm, the time of year where everything seems to fall back into place after frantic reshuffling to make it appear that the onslaught never really happened and all is right with the world.

Why, yes, I'm talking about Adele taking back chunks of the chart from Justin Bieber, why do you ask? Okay, snark aside, while everyone predicted there'd be chunks of Adele's new album breaking onto the Hot 100, it's not as pervasive as you'd expect, and along with plenty of returning entries and chart shuffling, it's more indicative that Bieber and to a lesser extent One Direction didn't have the same staying power.