video review: 'more than ever' by sims

Well, this fucking ruled. You think Danny Brown went hard... Sims can give him some serious competition, with arguably even stronger lyrics!

Beyond that, I think I'm going to go for something lighter with this Tinashe release... then Common and Czarface and of course, Billboard BREAKDOWN, so stay tuned!

album review: 'more than ever' by sims

So, here's a story for you: I saw Doomtree in Toronto twice last year. Once was at Riot Fest - it was awesome, they put on a terrific show, and I was able to leave to see Frank Turner before Tyler The Creator showed up - and the second time was in a small venue downtown. I actually ran into an old university friend there completely by accident, and afterwards we hit up a bar and talked about the show. And I remember a big part of the conversation being which Doomtree MC was our favourite... because let's face it, there's five of them, they're all ridiculously good, but there's always a hierarchy to these things. Obviously Dessa topped both of our lists, but that should be no surprise to anyone - Dessa would make my top five of all time, and the fact that she's now featured on the Hamilton mixtape is all the more deserved.

But after that, the ranking was a little more mixed. For me, I tended to gravitate to Cecil Otter, more because of his production work and because I had heard a lot of his solo material and work with Strange Famous. My friend consistently brought up Sims as her second favourite, and while she was making her entirely justified case, I realized I had never listened to Sims' solo work. I had heard P.O.S.'s albums - I can't say I'm the biggest fan, but I appreciate his distinct lane - but Sims... I had a hard time evaluating his material outside of Doomtree, especially going back to his breakthrough record in 2011 Bad Time Zoo. On the one hand, his unconventional rhyming patterns could definitely get frustrating, but he was also probably the most eccentric and borderline odd rapper of the Doomtree collective. Unlike Dessa, whose material tended to be more conventionally tasteful - as well as intricate, gorgeously performed, ridiculously intelligent, I could go on - Sims was the guy who would take more risks, in his content, wordplay, and especially his instrumentation. He had a flair for theatrical bombast and some really great hooks, but there was an off-kilter edge to Bad Time Zoo that in retrospect really feels ahead of its time. It was experimental and weird courtesy of Lazerbeak's eclectic production, almost certainly underappreciated in 2011 - and I include myself in that category. Even as a fan of Doomtree, the collective that along with of Run The Jewels is everything I want to hear in modern hip-hop, I probably didn't give Sims enough credit.

So I wasn't going to be making that mistake again, and even if nobody else cares to cover this record - which is likely, as I'm not sure he's got the immediate name recognition as Dessa or P.O.S. or even Cecil Otter - I wanted to get to this first, before Common or Czarface or anything else this week. So what did I get?

video review: 'pure' by in the woods...

Took me entirely too long to get to this, but man, definitely glad I did, this thing is a powerhouse... albeit not quite the same powerhouse as our next album on the docket, so stay tuned!

album review: 'pure' by in the woods...

You know, it's kind of funny, when I was working on my Avenged Sevenfold review and discussing the path towards metal I had taken, I came to the realization that for as much talk as I've put forward about exploring black metal, I really hadn't done as much as I would have liked this year. And that's almost entirely on me: there were a lot of black metal records that dropped this year, and I haven't done my due diligence in covering them. Now to be fair I also haven't gotten many requests for them either - black metal is a niche genre, and the brand of it I tend to like that's more melodic and atmospheric is more niche still - and I'm coming close to putting out more reviews in 2016 than I did last year, so it's not like I haven't been busy...

But still, there have been black metal records I've wanted to cover and haven't yet had time to do so, so let's make up for lost time a bit and discuss one that's been on my radar for some time: In The Woods... Now immediately out of the gate, you have to make some qualifications: when In The Woods... began releasing records in the 90s, they may have started in black metal but they didn't stay there, venturing into progressive metal and blending intricate instrumentals with some impressive melodic song structures and remarkably solid songwriting. I probably hold their sophomore album Omnio as their strongest release, but even though I'm not exactly wild about Strange In Stereo, it was still disheartening when I was rediscovering the band last year and discovering that they hadn't released any full-length records since. Thankfully, In The Woods... actually did reform with new vocalist James Fogerty, and they actually released a full-length record this year. And I really wasn't sure what to expect - progressive metal, black metal, either way the pedigree of this group is strong enough to warrant one hell of a comeback. So, while I'm entirely too late to the punch here, how was Pure?

video review: 'collage' by the chainsmokers

Well, this was junk - but to be fair, I wasn't expecting this to be good. But on the other hand, I wasn't expecting something this cynically mediocre, so I'm not exactly surprised here...

Next up, though, something great that I missed from earlier this year, so stay tuned!

album review: 'collage' by the chainsmokers

There will be no way to talk about pop music in 2016 without talking about The Chainsmokers - even if you desperately don't want to talk about The Chainsmokers.

And here's the funny thing: I'm starting to get the impression that the people who don't want you talking about The Chainsmokers in deeper detail includes the duo themselves. They'd probably prefer that you don't reference their atrocious faux-ironic sketch comedy beginnings, or the fact they were responsible for inflicting that viral marketing trash 'hit' '#SELFIE' on the world in 2014. In other words, right from the start I had a certain distaste for these guys, especially in their attitudes towards pop music, which can be aptly summed up in a quote they made in an interview with Billboard: 'even before success, pussy was number one'. Fantastic, all the proof that the attitudes typically associated with the 'white guy with acoustic guitar' stereotype can cross over: the guys who never made music out of any sort of artistic impulse, just to pick up chicks. Follow it up with an awful live performance with Halsey at the VMAs, their slagging of the band Weezer as 'thirsty', and their much-covered insults at Lady Gaga and Rihanna for either sucking or having 'no work ethic', and you can see why legitimate artists both in and outside of EDM treat The Chainsmokers with at best disinterest and at worst outright contempt.

But look, we've had assholes in music forever, I'm not holding The Chainsmokers to any sort of moral standard. No, what I find more corrosive is how it feels like so much of their music feels like an extended con run on the mainstream public, abusing the pass that's now common for pop in the cultural conversation to make some of the most cynical and hollow music imaginable. You might not like Lady Gaga's artifice or The Weeknd's nhilism, you might think Taylor Swift is thin-skinned and vindictive and Drake is overexposed and creatively stagnating, that Meghan Trainor can't back up her ego and Shawn Mendes is way over his head, but when I listen to their music, there's an artistic impulse that I might not like but is at least there. Even will.i.am, who I used to loathe for his 'music-as-marketing savant' approach at least took the music with artistic integrity - even if he couldn't always execute, there was at least something. The Chainsmokers, meanwhile, freely admit in public to being inspired by Jeremy Piven's character from Entourage and seem to treat music more as a marketing gimmick to enable hedonism rather than any sort of art - so no wonder they've said they've never considered releasing a full-length debut album, because that would enable critics to drag them into a serious conversation they aren't prepared or willing to have. And that's the reason why I'm covering their second EP Collage in detail - call it a review, call it an expose, what did this Collage deliver?

video review: 'the stage' by avenged sevenfold

Well, this happened. Wow, did not expect to find anything to like here, but hey, it happens.

Next up... look, I'd like to say that new "solo" album from The Game is worth talking about, but I really want to knock something out of my backlog first... so stay tuned!

album review: 'the stage' by avenged sevenfold

Oh, I am the wrong person to be covering this record.

See, I think I've gone on record that I never really had an 'angry white boy' phase, and since I was such a massive nerd growing up, when I did start getting into metal in the mid-2000s, I kind of skipped hard rock radio entirely and dove straight into fantasy-inspired symphonic and power metal. Sure, I heard some of it in passing if it ever crossed over to pop radio, but my musical evolution was taking me in precisely the opposite direction of rock radio: I was listening to progressive rock and metal and later the more anthemic strains of hair metal and thrash, or getting into punk and post-punk that would drag me into experimental and noise rock, all of which would culminate in my continuing exploration of even more abrasive genres like black metal which continues to this day.

But going back to relisten to some of that mid-2000s material now... wow, I can't tell you how lucky I feel about this. I avoided the dregs of nu-metal, the post-grunge imitators, so much of the meat-headed metalcore scene... look, I doubted I would have gotten into this when I was a teenager anyway, but it's very telling that going back to this now how badly so much of it has aged. That's what makes a look back at Avenged Sevenfold kind of fascinating to me, a band that gets dumped on by metal fans for not being heavier and the sort of theatrics that they've rarely if ever been able to pull off convincingly. Yeah, okay, the guitar work and solos did have a certain charm on City Of Evil, but the band followed it with a self-titled release in 2007 that tried to add elements of symphonic rock and fell ridiculously flat. And yes, for the most part I'm going to blame frontman M. Shadows for this - his songwriting has always been hilariously overwrought and his more nasal delivery has never had swell or impact for me. 

Now granted, things have improved: after the unfortunate passing of their drummer The Rev, they pivoted into heavier material like their 2010 album Nightmare, which was a decent if unremarkable slice of heavy metal. But by the time they released Hail To The King in 2013, it became apparent that even if Avenged Sevenfold had started to evolve past adolescent whinging, I was struggling to find anything fresh or interesting about their material. I get making a tribute to the past, but when the influences are so blatant without fresher content, I can lose interest. And it looks like Avenged Sevenfold have reportedly taken that to heart: without warning they released their longest album to date, apparently drawing on progressive metal, thrash, and even hints of their metalcore sound they left behind years ago. Now I still wasn't a fan of this band, but this looked to potentially be their most experimental work to date, one of their more 'conceptual' and perhaps even their heaviest, and that looked interesting at least, so I dug into The Stage. Did Avenged Sevenfold redeem themselves?

billboard BREAKDOWN - hot 100 - november 12, 2016 (VIDEO)

Well, this was a diverse week. Not precisely a great week, but definitely an interesting one. Only three weeks of the Billboard year, though, so anything could happen...

Next up, though - well, you'll see, so stay tuned!

billboard BREAKDOWN - hot 100 - november 12, 2016

This was a weird week on the Hot 100. All of a sudden the chart shifting momentum seemed to dry up, and yet we got a whole pile of new arrivals and returning entries spanning every genre except country. It was a lumpy, misshapen sort of week that would normally be fascinating to talk about...

video review: 'cosmic hallelujah' by kenny chesney

So this completely blew. Seriously, I was thinking about skipping this but when I discovered how completely awful it was, I needed to deal with it. Also probably guarantees I'll never talk about a Kenny Chesney record again, but whatever.

Next up, Billboard BREAKDOWN and probably Avenged Sevenfold... maybe a chance to knock an album or two out of my backlog too, so stay tuned!

album review: 'cosmic hallelujah' by kenny chesney

I don't think I've entirely been fair to Kenny Chesney.

Granted, there's a limit to how fair one way or another I can be about this guy, because for as long as he's been a consistent presence in country, he's not exactly been an artist that sparks a lot of attention, critical or otherwise, even despite a considerable number of hits. Outside of your average Jimmy Buffett fan club, I don't see many country fans in the mainstream or otherwise saying their favourite artist is Kenny Chesney - hell, he's got a crossover 'hit' right now with an artist I otherwise like and yet I can't really be bothered to care about it all that much - it's breezy, lightweight material, often at the beach, the sort of sedentary music that flows in one ear and right out the other.

So when I started getting requests to cover this... well, suffice to say I didn't have high expectations. I may have been overly harsh to Kenny Chesney's last record The Big Revival, which did have a few songs that ended up growing a bit on me in time, but I wasn't holding out a lot of hope for Cosmic Hallelujah. For one, the lead-off single was 'Noise', the sort of non-country track complete with some of the most gratuitous pitch-correction I've ever heard in the genre - whatever that song was, it certainly reflected a change in instrumental direction, perhaps even a point where Kenny Chesney had decided he wanted to blaze his own experimental trail! And while a part of me had no expectations this was going to work well at all - he's only got two writing credits on this release - I will admit that it's a bit of an interesting spectacle to watch Kenny Chesney, seventeen albums into his career, decide to venture out of an extremely well worn comfort zone? So okay, what does this mean for Cosmic Hallelujah?

video review: 'lady wood' by tove lo

Well, this was definitely a real disappointment. Certainly was hoping from more from this record, but instead... well, misgivings were proven correct.

And on that unfortunate note, Kenny Chesney is next (because I still need more time for Avenged Sevenfold), so stay tuned!

album review: 'lady wood' by tove lo

I've had a sinking feeling about this record for the past few weeks now. And believe me, I definitely haven't wanted that, but the misgivings about this record started coming out early and haven't really stopped. 

See, when I first heard Tove Lo in 2014, I was pretty impressed with her debut Queen Of The Clouds. Not a great pop album, but I saw buckets of potential from a fairly smart songwriter with a knack for pop nuance and good hooks. And coupled with a forceful and surprisingly layered performance, I thought Tove Lo could easily build herself a potent pop career and give most of her contemporaries some serious competition. And for a while it seemed like she had some momentum: 'Habits (Stay High)' was huge, 'Talking Body' was a very respectable follow-up, and 'Close', her collaboration with Nick Jonas, grew on me a fair bit. And I really liked Tove Lo's artistic persona: wild, reckless, she pushed her lyrics into some dark territory, even if on some level you wished she could take as many chances with her instrumentation and production, or that her lyrics didn't always show the self-awareness to elevate the flagrant irresponsibility, add more subtext.

But while I initially dug her lead-off single 'Cool Girl', with everything else I learned about her sophomore project the more concerned I got, starting with the incredibly on-the-nose album title. Coupled with the fact that she had kept the same production team and the biggest guest star on this record was Wiz Khalifa, plus the fact that she was going for a double album concept on a record that didn't even crack forty minutes...hate to say it, but it rang as trying too hard to shock or grab people's attention. And sure, that's her prerogative and I generally like that forceful personality, but her lack of greater subtlety meant the play to greater sexuality felt all the more brazen... and while many of her younger fans might not remember, I'm familiar with what happened to Madonna in the early 90s - eventually if you try too hard to shock in this lane, people don't get surprised in the same way.

But maybe I'm being too harsh here, maybe there was a place for Tove Lo's directness in 2016, so I took a long hard look at Lady Wood - what did I find?

video review: 'integrity blues' by jimmy eat world

And that's two for tonight. Whew, this went down a lot easier than I expecting, really quite pleased with it too. Did not expect to enjoy it as much as I did, that's for sure...

And next up, Tove Lo and... well, this Avenged Sevenfold record is bound to be interesting, I suppose... stay tuned!

album review: 'integrity blues' by jimmy eat world

Of the albums I was expecting that I'd eventually cover this year, a new record from Jimmy Eat World was not one of them.

And to be completely honest, I'm not entirely sure why that is, probably not helped that I'm pretty divided on the group as a whole. I've always considered the band something of a mess of contradictions: the lyrics treading right up to the line of emo with frontman Jim Adkins tending to underplay his delivery... paired with instrumentation that went straight for power pop and never turned back, most of which led to songs that had swell and impact instrumentally but weren't always well matched by their content. It was always a balancing act for me with Jimmy Eat World - at their best, they hit anthemic rock beats that could match the broader scope of their writing, or managed to precisely nail a sweet spot that would make them influential in emo throughout the next decade. 

Granted, by emo standards Jimmy Eat World were never great songwriters - Say Anything never had anything to worry about - which is why I tended to like their more anthemic stabs like Futures and Chase The Light a fair bit more than most, and am willing to forgive some parts of Invented. But 2013's Damage was a frustrating listen, an attempt to go 'back to basics' with their scope and sound, and ditching Mark Trombino's production to do it left with middling results at best - not a bad album, but certainly not one anybody remembered. But there's a part of me that was kind of curious about their album this year Integrity Blues, mostly because they were working with Justin Meldel-Johnsen on production - and even though I've definitely come down hard on his production work in the past, he has injected more personality into his work and that could be a good fit for Jimmy Eat World, who as a band I've always thought could use a little more flash. So okay, how as Integrity Blues?

video review: 'yes lawd!' by nxworries (anderson .paak & knxwledge)

This review took me a lot longer than I had expected - I've probably listened to the record a dozen times, but it just took a while to really come to any concrete opinion... just one of those things, I guess.

Beyond that, I've got the Jimmy Eat World review on deck, so stay tuned!

album review: 'yes lawd!' by nxworries (anderson .paak & knxwledge)

So I think I've gone on record a number of times by this point how 2016 has been a bit of a dud in terms of popular music, especially hip-hop, showcasing established MCs underperform and a whole load of talentlessness get recognized for no damn good reason. But I think what's made this all the more frustrating is that, well, it didn't have to be this way - it could have been more than just Chance The Rapper who has carried the torch from the underground with real quality, and the lack of recognition for mainstream-ready rappers and performers has been as frustrating if not more so.

And if you want the primary example of that, it's Anderson .Paak. Oh, the critics absolutely adored his early 2016 release Malibu - myself included, that record rules - but it was a summer album released in mid-January, and that probably prevented his music from crossing over more. Because make no mistake, if we can give Lil Yachty, Desiigner, Lil Uzi Vert, and Young Thug careers, Anderson .Paak's material was not so inaccessible that it couldn't do well, especially given how damn catchy and charismatic it was.

But despite making the XXL Freshman list and a few critically acclaimed guest appearances on other albums, it didn't really seem like he was interested playing the game. Instead, he went over to the independent label Stones Throw - most well-known for backing artists and producers like J.Dilla and Madlib - and set up a collaboration with Knxwledge, who is a prolific producer in and of his own right, but is probably most well-known for some production work he did for Kendrick on To Pimp A Butterfly. Together, they formed NxWorries, and while they had dropped a collaborative EP last December, this was a full-length record - not just a mixtape as I had originally thought. And hell, I like both of these guys, this could very well be a fun release, so how is Yes Lawd!?

video review: 'big baby d.r.a.m.' by d.r.a.m.

Well, this was a lot of fun... but let's face it, any rapper who can make that face while holding an adorable puppy has a good shot with me.

On a different note, NxWorries and Jimmy Eat World soon, so stay tuned!

album review: 'big baby d.r.a.m.' by d.r.a.m.

So I may or may not have said in the past couple reviews that the mainstream Hot 100 has sucked a fair bit in 2016. Sure, it's mostly getting better now but that's a slow process and it sure as hell isn't happening all at once.

But one of the unrelenting bright spots has been the inexplicable success of the breakout single 'Broccoli' by D.R.A.M., Virginia rapper and the sort of immediately recognizable presence that mainstream hip-hop has really been lacking this year. And yet despite how much Lil Yachty nearly ruined that song, D.R.A.M. managed to outshine him - and I mean that beyond just a reflection on skill and personality. No, what D.R.A.M. brought with 'Broccoli' was positivity and energy, no doubt influenced by his association with Donnie Trumpet & The Social Experiment and especially Chance The Rapper, which is where I've been recognizing him over the past eighteen months. And while there's a part of me that wishes Chance could have gotten to the top first as a more thoughtful MC, if it takes D.R.A.M. to throw the doors open, I'm definitely on board. In other words, I didn't quite know what to expect going into Big Baby D.R.A.M., but I had the feeling it would at least be fun, something that the desaturated monotone of most modern pop could definitely use. Hell, the only other guest stars besides Lil Yachty were Erykah Badu - okay - and Young Thug, and this would be the sort of lush upbeat production that I've been looking for Young Thug to rhyme against for some time now. So no more wasting time, how was Big Baby D.R.A.M.?