album review: 'paradise' by white lung

So I don't review a lot of punk.

I mean, I will on occasion - if there's something really jumps out at me with sharp hooks or particularly nuanced lyrics, I'll get all over it - but I think it's fair to say that of the punk scene that's left, there's not a lot that really works for me. And it's not saying I dislike the genre or don't have my own personal favourites from both the 70s and 90s waves - I certainly do. But maybe it's just a factor of overexposure and looking for acts that are saying and doing something a little different - punk by definition went back to the basics, and when you have nearly forty years of the 'basics', you need to do something to stand out.

As such, I've been a little reticent to talk about White Lung, a Canadian punk act from Vancouver known for blisteringly fast hardcore riffing and frontwoman Mish Way's raw, explosively feminist lyrics. Up till now they've released three records that might generously have just over an hour of material, but they've managed to capture a lot of potent content that updates the riot grrl ethos for the modern era. And while I won't always say I loved their albums - I'm not the biggest hardcore fan - I've liked what I've heard in terms of their progression, towards a fuller sound and stronger hooks, and the lyrics have always been well-framed as well as explosively raw in a Perfect Pussy sort of way.

So I was definitely curious to check out their newest album Paradise, which wasn't just their longest album to date - nearly a half hour! - but also featured new production from Lars Stalfors, most well-known for his association with The Mars Volta, the Cold War Kids, and - sigh - Matt And Kim. At the very least this promised to be a prettier affair than previous records, but if that meant a shift towards more defined melodic hooks, that could be a really good thing, at least for me. So I picked up Paradise - what did I find?

video review: 'dangerous woman' by ariana grande

Ah, glad to get this out of the way. Took me way too long to deconstruct it, but still worth it.

Next up, White Lung, ANOHNI, and hopefully Vektor - stay tuned!

album review: 'dangerous woman' by ariana grande

It has been fascinating watching the evolution of Ariana Grande - and given that I've already covered two of her albums, I've had a front row seat to all of it.

Granted, evolution might not be the correct word for the carefully considered marketing and micromanagement of Ariana Grande's musical career, but there has been a progression, and I'm a little on the fence of how well it has worked. On the one hand, the instrumentation and production moving from Yours Truly to My Everything has only been a net positive, giving her breathy, soaring vocals the room they desperately need. And while the songwriting has been micromanaged, there have been real moments of maturity that have started to come through in her writing that has led to strong tracks, including the fantastic 'Love Me Harder' with The Weeknd.

But throughout the lead-up to her newest album Dangerous Woman, that progression has seemed shakier than ever. You can tell that her producers and handlers are pushing for a more explicitly sexy image and 'sound', and it's an open question whether or not Ariana or her writing team can pull it off. Part of this is her voice - when she sticks to more sultry, low-key R&B cooing it's believable, but she doesn't have that element of rawness in her delivery yet to believably pull off pop diva powerhouse, and her occasional sloppy enunciation doesn't help. But more than that, being 'sexy' is music is incredibly difficult to pull off well - sensual a little easier because you can modulate your range, but sexy requires a type of intimacy and poise that Ariana can't always pull off, which can make certain songs come across as hard to believe. And while this was an issue on My Everything, it looked to be a much bigger issue here, especially opposite artists like Lil Wayne and Future, who play in a very different type of sexuality than Ariana. That said, Dangerous Woman looked to have promise if only because Ariana had taken a much firmer hand in the writing process, with nearly double the credits from her last album, and with a smaller writing staff I had the hopes that this might actually work - so does she pull it off?

video review: 'coloring book' by chance the rapper

So yeah, trying to catch up on my schedule has been insane... which means Ariana is probably going to be next before White Lung and ANOHNI - either way, stay tuned!

album review: 'coloring book' by chance the rapper

Let's talk about faith.

Now before I blow open this can of worms, let me start by saying that I'm not talking about religion here - my own personal faith is private and complicated and probably would extend over more than just one video, and entangling it with religion doesn't make things easier. But that's not to imply that faith doesn't inspire art - often times it can inspire better art than religion itself, see the vast majority of the Christian music scene! Good art arises from conflict, and a crisis or conflict of faith is often times one of the most potent anyone can have, especially when there's no concrete answer to the questions presented.

But what about Chance The Rapper, the eternal bright-eyed optimist in modern hip-hop who has ignored major labels with aplomb to release free album after free album? Yeah sure, it's been called a 'mixtape', but at this point I doubt Chance is going to release anything outside of 'mixtapes' like these, so if I want to cover him at length, it'll involve me breaking my mixtape rule and talking about this. A rule, by the way, that I'm happy to break here: my experience with Chance The Rapper might be uneven - I really liked Acid Rap, Surf reveals itself as even more messy with every subsequent listen - but if you get him on a straightforward project he can spray colourful and relentlessly fun verses like no other - his verse on Kanye's 'Ultralight Beam' proved that and outshone nearly everyone else on the project. What did worry me was that, again like Surf, this project might have too many hands in the pot, with an overloaded guest list and many that you would not expect from reportedly a hip-hop gospel record! But hey, maybe Chance had managed to tap into the spiritual side of artists like Lil Wayne, 2 Chainz, Future, Young Thug, and Justin Bieber - at the very least, it would force them out of their comfort zone. So I picked up Coloring Book - what did I find?

video review: 'cloud nine' by kygo

Truth be told, I was reticent about covering this record, but really, it turned out to be rather nice. Good listen.

Next up, Chance The Rapper, White Lung, and finally Ariana Grande, so stay tuned!

album review: 'cloud nine' by kygo

So let's talk a little about tropical house.

Because in mainstream pop, you can't go that far on the radio without hearing its influence, and yet in comparison with most house music, it's relatively new. An offshoot of deep house that got its origins in the mid-to-late 2000s, it has become huge in the mainstream thanks to big pop crossover singles, or pop artists like Justin Bieber hopping on the sound. And really, it makes sense: the dark hollow tones of deep house could work in the right environment, but it didn't have the same sort of festival ready vibe that the lighter, more liquid tropical house tones did. And with the inclusion of a broader and brighter instrumental palette, it's the summer-ready material that might not have the bombast of the EDM of the first few years in the 2010s, but it definitely has more groove.

And yet I would make the argument that, like with so much electronic music, the US charts barely reflect the world-spanning scope of the genre. And one of the biggest cases of that is Kygo, a Norwegian producer who first smashed onto the scene with 'Firestone' in 2014 that finally crept onto the bottom of the Hot 100 late last year. But even though the United States may have forgotten he exists, the rest of the world hasn't, with multiple massive singles and as of yet the fastest artist to hit one billion streams of Spotify. Obviously there is something to this guy who has grabbed everyone's attention - along with the fact I've been getting requests for months to cover this album - and his debut album did have an impressive array of vocal talent, including John Legend, Foxes, Labrinth, and plenty more. That being said, I was a tad skeptical how well the tropical house formula would hold up over the entire record, or if Kygo could keep things interesting beyond the singles. So I hopped on Cloud Nine - what did I find?

20,000 subscriber Q&A! (VIDEO)

I'm personally amazed that we got to this point, and I really genuinely appreciate everything you guys have done in order to help this channel expand. Let's keep up the fine work, and see this thing double by this time next year (lofty goal, but you never know!)

Kygo coming up later tonight, so stay tuned!

billboard BREAKDOWN - hot 100 - may 28, 2016 (VIDEO)

Nearly forgot to post this, but it did go over pretty well, so I'm pleased. Next up, the 20,000 subscriber Q&A, so stay tuned!

billboard BREAKDOWN - hot 100 - may 28, 2016

And now... the cooldown week. After the past several weeks of instability, this is the return to the 'status quo' that is characterized by songs returning to old positions of strength and a ton of returning entries. So while to the outside viewer it might appear that there were a lot of shifts this week - and there were, let's not kid ourselves - most are just resets to a form of equilibrium as Drake and Beyonce's big debuts continue to fade away. As such, you'd think it'd be a quieter week, and for the most part it was...

video review: 'thank you' by meghan trainor

Whereas in this case I don't think anyone was remotely surprised that this kind of sucked. Go figure.

Next up, 20k Q&A and Billboard BREAKDOWN, so stay tuned!

video review: 'a moon-shaped pool' by radiohead

So here's a true story: I was genuinely concerned that I'd lose so many subscribers with this video that I postponed filming the 20k Q&A video. Turns out that I didn't lose that many - and that video will probably be going live later today, along with Billboard BREAKDOWN - but still, this was one of my more controversial videos in a while.

Thankfully, the next on our docket wasn't nearly so controversial...

album review: 'thank you' by meghan trainor

Let's talk briefly about selling out.

Now I know that even by opening up the review like this, I've set myself up for a certain amount of backlash, particularly from people who think that I'm using it as an opportunity to denigrate a shift to pop. The funny thing is that you can 'sell out' while still remaining in the same genre, by compromising artistic principles or a unique sound for something that's more generic but is guaranteed to sell better. And that's not making the implication that selling out is inherently a bad thing either - some acts only discover a pop sensibility when they do so, which can result in them making more melodically satisfying music - but especially for an act starting out, it can be a bad sign for times to come, and it tends to rend fanbases in two.

As such, I've had a certain academic curiosity in watching how people have reacted to Meghan Trainor's lead-up to her sophomore release. With her debut album Title, Meghan Trainor carved out a distinctive niche for herself, even if it did happen to turn my stomach with every subsequent listen, a doo-wop inspired retro-pop sound that was safe, self-satisfied, and overwhelming white and saccharine. It was very much music for a demographic that didn't want to be challenged by their music, which would have been fine if Meghan Trainor's songwriting and delivery didn't demand frequent challenges for a load of unsettling implications and amateurish sloppiness, something which Trainor seemed adamant in ignoring. In other words, there are reasons why she took the top two spots on my Top Ten Worst Hit Songs of 2015, one for her collaboration with Charlie Puth on 'Marvin Gaye' and the top spot all for herself with 'Dear Future Husband'.

And yet even despite the avalanche of requests for me to tear her sophomore album a new one, I was genuinely perplexed about Meghan Trainor's new direction. With a track like 'No', which traded one style of plastic pop for another - 50s for late 90s - I had no idea where Trainor was going to be taking her sound as a whole. Was she succumbing to what acclaimed critic Nathan Rabin has described as the 'hoification process' and augmenting her material with more openly brazen sexuality - which would certainly be amusing to dissect after Title - or was this a half-measure to court mainstream nostalgia baiting with a sophomore release that further muddied her message? And more importantly, would it be listenable? Well, I dove into Thank You to find out - what did we get?

album review: 'a moon-shaped pool' by radiohead

Most of the time, I have absolutely no issue going against the critical consensus. Sure, it's nice to know that my opinions are echoed by popular opinion, but I've taken some hard and controversial stances before and I'm not afraid to stand by them. I've found albums that critics adored to be tedious or mediocre, and I've found some albums that were critically savaged to be hidden gems. After all, as much as critics like myself like to think we're the ones who can shape history, reality often proves to be vastly different.

And yet when we get to Radiohead... goddamn it, I wish I liked this band more than I do. The way I've always described the critically beloved group is that I respect them more than I like them - I can appreciate what they did to push boundaries in alternative rock and blending in electronica throughout the 90s and 2000s, but in terms of the records themselves? My favourite Radiohead album has always been The Bends, and while OK Computer and In Rainbows definitely have their moments and are great records in their own right, I've never been able to get passionate about this group. A big part of it is Thom Yorke himself - I can appreciate his expressive delivery to a point, but I've never found him to be the profound or interesting songwriter so many have said. And sure, melodically Radiohead have put together some potent moments and great songs, but when pushed through every shade of melancholy in the book - especially with the increasingly diminished returns of the 2000s - the material just doesn't connect for me. Hell, I'd argue part of it started with Kid A, certainly a good record with some spectacular moments but not worth the ocean of praise the majority of online critics - especially Pitchfork - ejaculated all over it in 2000. And no, it wasn't going electronic that hurt Radiohead for me - In Rainbows found a synthesis of it that was looser, more melodic, and really quite potent, it really is the brighter side to OK Computer - but I will say that the more humanity and organic instrumentation Radiohead tends to embrace, the more their gift for melody comes to the forefront, something which their 2011 record The King Of Limbs didn't emphasize all that effectively in its choice to play for choppy, looped rhythms and minimalism.

So when I heard that their surprise new release A Moon-Shaped Pool was going back towards more organic instrumentation, perhaps even bringing in elements of folk that they've flirted with but never completely embraced for decades... hell, I was intrigued. And even though I'm decidedly in the minority when it comes to Radiohead albums, I figured I still liked the group enough to dig in, so what did I find with A Moon-Shaped Pool?

video review: 'ripcord' by keith urban

So this didn't go well... I wish I could say I was surprised, but I'm really not at this point. Still disappointed, though.

Okay, I think I'm nearly ready to talk about Radiohead, so stay tuned!

album review: 'ripcord' by keith urban

I've talked a fair bit before about the thin line between pop and country, a divide between genres that to some isn't just about the music, but ideology as well. The very idea that country could exist in the same space as pop, with clean and polished tones, light subject matter, and touches of modern production, that's offensive to some people, because it betrays country's commitment to history and authenticity.

Now I'm not one of those people, because like it or not, I think that pop country can be a workable subgenre. Just because the subject matter is lighter, the production is more polished, and the singers are prettier doesn't mean there can't be great music with strong melodies, good performers, and smart writing. Think Lucy Hale, or Shania Twain at her peak - or on the flip side, you could have Keith Urban. And let's make no mistake here, ever since he came up in the same mold with the same producer as Rascal Flatts, he's been making very polished, very accessible pop country. The big difference between him and Rascal Flatts is that he had charisma and better songwriters and wasn't afraid to give his solid guitarwork a little more room to breathe. I'm never going to say that he was an essential act in the 2000s, or that he didn't make very pop songs, especially on his 2013 album Fuse. And yet keep in mind that when I covered it back in 2013 on this channel, I actually liked that album, and for the most part I still do: by keeping the melodies prominent and the percussion grooves breezy, even when they were electronic, the album was an easy, fun listen with some above-average songwriting that was a real pleasant surprise.

Unfortunately, going into Ripcord I had a lot more misgivings - like it or not pop music has gotten more choppy and staccato thanks to the influence of trap, which does not help the flow of a record like this, and the songwriting was only feeling more inane, lacking the subtle flourishes that gave songs on Fuse more personality. I wasn't really wild about any of the lead-off singles, and seeing a Pitbull collaboration immediately threw up a red flag. That said, Keith Urban has earned a fair bit of good will with me, so even despite some pretty harsh critical reviews, I gave it a listen: what did I find?

video review: 'the impossible kid' by aesop rock

Well, this took entirely too long to finish, but I'm glad I finally did. Lot to dissect here, I must say.

Next up... hmm, not sure yet. Do I want to cover Radiohead yet, or should I handle Vektor and Keith Urban... decisions, decisions, but regardless, stay tuned!

album review: 'the impossible kid' by aesop rock

So when I covered Kevin Morby last week, I mentioned that much of the wordplay I tend to prefer is intricate and layered, or at least trying a little harder than bog standard metaphor trying and failing for universality. And with rare exception, if you take a look at my favourite albums of any given year, that focus on lyricism has led to certain records landing on the list that push the gauntlet lyrically but might not quite be as innovative in their sound - or if they are, it's in subtle ways that serves and compliments the writing.

But that's not saying I don't have my limit on the other extreme, the songs that weave such tangled webs of words that clawing forth any specific meaning is a twisted nightmare in and of itself, and that's not even counting the writers who focus more on impressionist poetry over direct meaning. To me, this material draws a lot of curiosity, but the bizarre thing is that they can be a little emotionally distancing - when you get so focused on untangling what is said, you can lose the heart of it all.

And that was my biggest fear before I started delving into Aesop Rock, the veteran MC who is known for having the biggest vocabulary in hip-hop and with a considerable discography and reportedly impenetrable albums. Not only was I concerned about verbosity and so many words adding up to less than expected, but that I would lose the emotional core in the music. Fortunately, as with so much hype on the internet, this didn't happen, and it's been a hugely rewarding experience revisitng Aesop Rock's discography in full, complete with all of the eccentric production choices, oddball lyrical knots, and records that might all run long, but often have a strong enough emotional core to hold my attention. And here's the thing: sure, the music is going to require some work to decode, but no more so than Joanna Newsom or Uncommon Nasa or any other singer-songwriter with an eye for detail, and unlike a rap act like Shabazz Palaces who can get lost in their own impenetrability, Aesop Rock's songs tend to have a point that will crystallize if you dig into them. 

So yeah, I was definitely curious to check out his newest solo release, four years after the critically acclaimed - for good reason - Skelethon, which I'd place in my upper tier of Aesop Rock records just below Labor Days and maybe a smidge above Float. And considering his production has only gotten more layered and complex and buzz was suggesting this might be one of Aesop Rock's most specific and direct releases to date - which is a good thing, as sometimes even he can slip into the lyrical rabbit hole - I was genuinely thrilled to dig into this. So what did we get?

video review: 'you should be here' by cole swindell

Wow, this was a real surprise. Didn't expect this to be all that good, but it turned out to be pretty decent. Go figure.

Next up, I think I'm ready for Aesop Rock and (sigh) Keith Urban, so stay tuned!

album review: 'you should be here' by cole swindell

So, for those of you who have been watching since the very beginning when I discussed the rise and fall of bro-country know that I took a bit of a complicated position surrounding the subgenre - namely that I didn't hate it altogether. I'm not sure what it was, maybe some lingering sympathies from my own bro tendencies, or maybe it was that even despite how stupid it could get, if played with sincerity and production with a little more meat or writing with a bit more tact, you could actually get decent music. 

Of course, the majority of bro-country acts maybe got one out of three on a good day and we got a whole lot of mediocrity, of which I had no qualms giving the thorough thrashing it deserved - when bro-country was good, I had no problems celebrating it, but when it was bad, I wasn't about to avoid an easy target. And one of the easiest was Cole Swindell, a former fratmate and merch manager for Luke Bryan who became a songwriter and later released a debut album I slagged as being one of the most formulaic, badly produced, and sloppily written bro-country records ever made. Until Thomas Rhett came along, Cole Swindell represented the absolute worst of bro-country for me: he might not have been the most obnoxious or processed or have the most offensive writing, but he represented the numb, sterile blandness that came to saturate country radio's mindless attempt to jump on a trend.

But let's be honest: bro-country is effectively over at this point, and Cole Swindell now had to prove he was more than just a trend. And with his lead-off single, the title track of this album that was a tribute to his late father, he actually convinced me to give him another chance. Sure, the percussion and production was too synthetic for my tastes and much of the melody line reminded me way too much of Luke Bryan's 'Crash My Party', but the writing had enough detail to feel authentic and real, even if it is framed through a bro-country lens. So, believe it or not, I had some real hope going into this album that we might see a more interesting or introspective side of Cole Swindell - did we get that?