video review: 'near to the wild heart of life' by japandroids

Well, this was actually a fair bit of fun. It's not as strong as Celebration Rock, but still, if you're a fan, you'll dig this.

Next up, though... yikes. Stay tuned!

album review: 'near to the wild heart of life' by japandroids

So here's a confession about me: I didn't really cut loose or run wild in high school. 

I know, that's totally shocking, but the truth is that for as much as I was dipping my toes into metal and anarchist philosophy in the mid-2000s, I wasn't really a wild kid. A big part of that was sports - I was huge into track & field and I basically managed to drag all of my D&D group along with me onto the team - a big part of it was my own academic ambitions - I went to university out of province to study physics of all things, I needed high grades - and if you couldn't tell by the previous D&D reference, I'm a huge nerd. Coupled with the fact I went to a private Catholic school with a graduating class of less than forty kids that was really too small for many cliques, I was involved on the debating team and a bit of musical theater, and my parents gave me a considerable leash to prove my responsibility, which included access to a car, I didn't really have a drive to rebel that hard outside of a few too many car accidents.

Look, the reason I'm saying all of this is that despite liking a lot of the pop punk explosion in the mid-2000s, it wasn't really the soundtrack of my teenage angst... mostly because I wasn't really an angsty kid growing up. Hell, my sullen misanthropic phase was in my second year of university, and the soundtrack to that was mostly Top 40 club hits - it was a weird phase, let me tell you. But it also can make for a fascinating listening experience going back to acts like Japandroids, a Canadian punk duo who dropped their debut album Post-Nothing in 2009 full of scuzzed out guitar work and anthemic crunch that made their material natural for unsettled for teenage emotion, complete with the sharper writing that made them a critical darling nearly immediately. And when they followed it with the even catchier and sharper Celebration Rock, which took much of the lo-fi sound and refined it into more incisive, recklessly exuberance, it looked like Japandroids could go in any direction and still connect with remarkable power. And yet five years later, what did they deliver with Near To The Wild Heart Of Life?

video review: 'road less traveled' by lauren alaina

Well, this was way better than I think anybody expected. Good pleasant surprise with this, definitely dug it.

Next up, Japandroids, stay tuned!

billboard BREAKDOWN - hot 100 - february 11, 2017 (VIDEO)

Well, this happened - I'm actually pretty happy they changed the formula, but still, it's disappointing the load of crap we got.

Anyway, next up is Lauren Alaina and Japandroids, so stay tuned!

album review: 'road less travelled' by lauren alaina

I can't believe I'm about to say this, but here it is: I'm starting to miss American Idol.

More specifically I'm missing the cultural phenomenon that came with American Idol and its ilk as a method to bring prospective singers into the limelight, specifically onto the Hot 100. Yeah, The Voice tried and we still have groups coming from The X Factor making an impact, but if I look back over the past decade in pop, outside of Glee arguably shifting things for the better, American Idol really did have an impact. I wouldn't say it was stellar or that there weren't some low points - I've seen From Justin To Kelly - but if we consider net impact, I'd take Carrie Underwood, Kelly Clarkson, Adam Lambert, and the few other fleeting hits we got over what Vine has done to the Hot 100 in the past few years!

And while in its waning years American Idol certainly had diminishing returns, one thing I tended to notice was that the runners up also tended to get a boost to their careers, sometimes even overtaking the winners that year in sustaining the limelight. And this takes us to Lauren Alaina, who rode her success as a runner up behind Scotty McCreery to a debut album in October 2011. And I wish I could say it remotely surprised me: if you can imagine what pop country in 2011 sounded like, living in the heyday of Taylor Swift before the bro-country onslaught, packaged on an album from an American Idol winner, you know exactly what this album sounds like - bright acoustics, a little more polished than it ever should be, more country touches than you'd hear in the next few years but entirely too precious in its writing and framing to resonate outside of a very specific target audience. And yet from there, it seemed like her career couldn't get traction - she underwent throat surgery in 2014, finished recording this album in 2015... and yet only now in January of 2017 is it getting released. Now to be fair, Mercury Nashville was probably waiting out current trends in country in the hope that she could gain a bit more airplay traction, and she did put out an EP in 2015... of which four of the five songs showed up on this album anyway. And again, it's been six years since full-length albums - granted, she's faring better than Scotty McCreery, who left Mercury Nashville two years ago and hasn't really been heard since, but still, these were not good signs going in, especially when I took a look at the production credits. But okay, how did it turn out?

video review: 'a girl, a bottle, a boat' by train (ft. the lp club)

So this album completely sucked. No real way around it, it's a stinker and it deserved to be called out. And after a great deal of pain and frustration, me and Ethan did just that, and good riddance to it all.

Next up, though... Lauren Alaina, this could be interesting. Stay tuned!

billboard BREAKDOWN - hot 100 - february 11, 2017

So this was an important week on the Billboard Hot 100 - which on the surface might be a surprising statement, given that it didn't seem that out of the ordinary, at least on the surface. But for those who pay attention, something big happened this chart cycle: Billboard changed their formula. And despite what I might have said earlier on Twitter, upon giving it more thought, I'm actually entirely behind this change - looks like Billboard got it right for once!

video review: 'dear avalanche' by lights & motion

Man, I was so hoping this record would be so much better... eh, it happens, I guess, but still painfully disappointing. Gah.

Next up, though, Billboard BREAKDOWN, so stay tuned!

album review: 'dear avalanche' by lights & motion

So here's the truth of it: for as much post-rock as I've heard, I tend to like the genre... but I also don't tend to seek it out that much.

And I'm not really sure why that is. Yeah, I don't deny that some of it is because if I'm going to be listening to this sort of atmospheric, blurred over melodic rock tones I might as well take that next step and listen to black metal, but the truth runs a little more complicated than that. For one, a lot of the post-rock I've tended to hear doesn't have a lot of lyrics, and I've been well-known for citing that as a big factor behind a lot of my favourite music. But it also ties back to that for as much post-rock as I've heard, a lot of it starts to blur together, more than it otherwise should. I like the tones, I like the renewed focus on melody, I really like the commitment to crescendos and musical dynamics... but beyond that, a lot of these pieces don't tend to hook me as deeply as I would like.

So take Lights & Motion, for instance. This is a Swedish post-rock act, the solo project of Christoffer Franzén, and it's known for a certain cinematic swell and scope. And from the brighter guitar-driven tones of his debut in 2013 with Reanimation to the piano-driven Save Your Heart to the more lush and orchestral Chronicle in 2015, it was easily some of the prettiest and most serene post-rock I've ever heard - it's no surprise it's been picked as backing orchestration for a lot of modern TV and movie projects. But on some level that might be part of the issue - Lights & Motion make music that generally sounds appealing but doesn't exactly have a distinctive tone and feel beyond a couple of obvious comparison points to Explosions In The Sky - which yes, makes it ideal for advertising, but that financial blessing can also be a hidden curse. And yet thanks to Patreon the newest project Dear Avalanche wound up on my schedule, with buzz suggesting more strings textures to be shift and changed, along with more vintage synthesizers. And this raised some mixed feelings for me: I don't mind cooler synths, but Save Your Heart was easily the softest work this guy has put out by playing to that piano mold, and that type of melancholy can run out of steam quick in my books. But whatever, I was curious to hear more, so how was Dear Avalanche?

video review: 'puxico' by natalie hemby

Well, this was a lot better than I expected. Still not sure if it's precisely great, but I'll definitely support it all the same, it's a solid album.

But next... whoo boy, this'll be fun. Stay tuned!

album review: 'puxico' by natalie hemby

So I've talked a fair bit in the past about the 'Nashville songwriting machine', the list of names that you'll see crop up again and again if you dig through the liner notes of mainstream country. And while for a while I tended to have something of an allergic reaction to this industry... well, on some level I get it. For a mainstream public who is can't stand major change and would recoil from most auteur-driven music, you need people behind the scenes to help fill time on the radio, or at the very least enough songs to fit albums cranked out every few years.

But here's the thing: with the recent upheaval and swings back towards neotraditional and indie country, you're not just seeing a fair few artists grab hold of writing duties for themselves, but several long-time veterans who put in their time behind the scenes step out into the spotlight. The big name, of course, is Chris Stapleton who released Traveller in 2015, but go a year earlier and you'd see Eric Paslay, or a year later and you'd get Lori McKenna and her spell-binding record The Bird And The Rifle. And now one of the newest artists to step to the forefront is Natalie Hemby, most well-known for her affiliations with Miranda Lambert, Sunny Sweeney, Little Big Town, and a fair few of the more contemplative and borderline experimental side of the Nashville sound that came in the aftermath of bro-country. And while there are a few duds on that list, there's also a fair amount of quality, which left me intrigued enough to check out her debut record Puxico, named for her grandfather's hometown in Missouri. And I wasn't sure what to expect - normally songwriters who have worked behind the scenes for a while before going solo are not the most striking performers, but that's where writing can do a lot of heavy lifting, and I have no qualms with that whatsoever - hell, more often than not I'd prefer it. So what did we find in Puxico?

video review: 'new world alphabet' by ubiquitous synergy seeker (USS)

So this is certainly an album. Yep, an album alright... shame it really isn't better than the debut EP and full-length, that was some quality fun music. This really should be a lot better.

But eh, next up... well, I'll see where the Patreon shakes out. Stay tuned!

album review: 'new world alphabet' by ubiquitous synergy seeker (USS)

So let's talk about the Canadian alternative scene a little bit. 

Now for those Americans in the audience, alternative and indie rock never really went away in Canada, not quite thriving in the same way as the pop music that still monopolizes mainstream radio, but there's a real chance you'll actually hear alternative rock if you turn on the radio, mostly because the Canadian Radio-Telecommunications Commission requires the radio play a certain amount of Canadian content. So not only does this mean a large quantity of the overblown streaming trends haven't quite crossed over in the same way, but in order to fill time radio producers have had little choice but to pull from Canadian acts that have the flexibility to get a little weirder and rougher.

So into that scene comes Ubiquitous Synergy Seeker, otherwise known as USS, an alternative dance duo that might as well have been imported straight from the late 90s in their fusion of drum n' bass with crunchy pop rock. And it's a little tough to directly define the genre and style of this group - think of a frenetic blend of Cobra Starship, Fatboy Slim, a little Primal Scream, and all with the sense that you really shouldn't take them too seriously. And hey, that was fine with 2009's pretty damn fun Questimation, which followed the even better EP Welding The C:/... but despite their 2014 EP Advanced Basics being their most successful EP to date, their splatter-painting approach to genres seemed to be having diminishing returns across the board, from less articulate lyrics, flatter production, less interesting delivery, and slower tempos. But hey, maybe that was just EP experimentation, and though the lead-off single to their newest record seemed to be going in even twangier, more lethargic territory, maybe they could capture some that frenetic momentum on the rest of New World Alphabet, right?

video review: 'rennen' by SOHN

Man, this was tedious to cover. But hey, it's Patreon - you guys wanted it, it happens.

Next up is also off that rack... and whoo boy, this'll be interesting. Stay tuned!

album review: 'rennen' by SOHN

You know, there's something I've been thinking about ever since The Weeknd released Starboy and called out R&B artists for copying his old style... where the hell are the copycats?

Seriously, I've been covering hip-hop and R&B for the past couple of years on both the Hot 100 and the underground, and for as many people have ripped off Drake or Future pretty blatantly, The Weeknd doesn't really have the same group of imitators - mostly because his style and content have a fair amount of unique identity and flair that's harder to replicate. Sure, there have been those who have mimicked some of the content, but it's not like bleakly framed debauchery was totally foreign to the R&B charts - hell, even if you go into the darker and more experimental PBR&B acts, many of them have charted their own course - it's not like How To Dress Well or Miguel stayed in that lane with later records over the past two years.

Okay, so what about acts like SOHN? An English singer-songwriter, you could definitely make the argument with his higher crooning delivery, bleak lyrics and melancholic tone that he could be seen as in a similar lane when he dropped his debut album Tremors in 2014, arguably the peak of that sound. But going back to that album, I'm not sure how viable the comparison is - the tones SOHN chose were more blocky and electronic, inspired more by chiptune or Kanye's autotune experiments more than The Weeknd's brand of chilly gothic abrasion. Kind of a shame, really, because I didn't find Tremors interesting - I can see why people like the tonal balance and vocals, and when it did pick up more of a groove it was indeed pretty solid, but beyond that I tended to find it underwritten and meandering, decent ambient and electronic textures not really adding up to solid songs. But hey, that can happen with a debut - maybe it would feel more refined and tighter on his sophomore album Rennen, which thanks to Patreon managed to climb up the schedule. So how is it?

billboard BREAKDOWN - hot 100 - february 4, 2017 (VIDEO)

Well, this was absolute hell to put together. True facts, you never want to review or cover material, much less edit something, when you feel sick as a dog. And while things are getting better, this was still a miserable shoot all things considered.

And on that topic - okay, maybe not that bad, but still - stay tuned!

billboard BREAKDOWN - hot 100 - february 4, 2017

...look, they can't all be good weeks. But to quote a favourite critic of mine, often times the worst kind of bad is the absence of good, and the more I looked through the charts this week, the less I found that was all that promising, not just in our new arrivals but in the songs that took measurable hits. Now don't get me wrong, the Billboard Hot 100 has had worse - look to most of last year - but if 2017 has been characterized by a noticeable positive uptick on the charts, which I'd argue it has, this is not a good sign.

video review: 'hang' by foxygen

Well, this was something of a disappointment... but hey, considering the last thing Foxygen dropped before this, I'm not that surprised.

Next up, Billboard BREAKDOWN... and I really don't have a lot of ideas where things are going to go, my schedule will probably be a little weird given the votes. In other words, stay tuned!

album review: 'hang' by foxygen

So as I think I've mentioned in passing a number of times on this show, I'm a big fan of going out to karaoke bars - and whenever I say this, I tend to get a lot of side-eye glances and comments of 'Wait, you're a music critic, how the hell could you stomach that?' Well, part of it comes from the privilege of living in Toronto and getting exposure to a ton of fantastic singers and genuine artists that come from a prolific arts scene - I imagine it's much the same in New York and L.A. - so on average the quality tends to be a little better. But at the same time it gave me an acute sense of perspective - many of these folks are incredible performers, they do this for a living far better than I ever will even at a karaoke bar, and despite my side project pretensions to making original music, for some of these folks it's their life, with karaoke just being an outlet for practice and letting out steam. I'm not going to sell myself that short - I'm a pretty good singer when I want to be - but at the end of the day even despite being a critic there's a difference between being a hardcore music fan with a penchant for showing off and an actual musician with poise and training, especially when it comes to the creative process of writing and performing.

I say all of this because when I started listening to early Foxygen albums, I got the immediate impression that this would probably be the sort of music I would make if I lacked the restraint or self-awareness to pull away and realize my own limitations. Because look, I love 70s rock, but that 2012 album Take The Kids Off Broadway was very much an example of loving the sound and style and textures but not really having a grasp on cohesion or composition. Now they definitely improved considerably on their next record We Are The 21st Century Ambassadors Of Peace & Magic - an half-ironic title, given how much their style nakedly aped the 20th century, although I would seriously question in terms of songwriting how much capacity this band has for irony, even if I did think the overall writing felt tighter. But then came ...And Star Power, a double album a year later, diving back towards rougher, lo-fi territory and that same sense of cacophonous composition, and yet the splatter-painting style of writing didn't have the same energy or groove or momentum, to say nothing of some painfully redundant lyricism - you do not want to get me started on how painfully weak the 'concept' of this record feels, especially given how sloppy some of the recording and playing feels. Now granted, some have argued that it was representative of the duo's famously contentious relationship, but for as much as Foxygen idolized the 70s, you'd think they'd take a lesson from Fleetwood Mac when they made Rumours and not throw cohesion out the window. But hey, they managed to hold it together to pull together an album that they've called their 'California record', going bigger and grander than ever - so did it connect?

special comment: 25,000 subscribers Q&A!

As I said in the video, it took longer - a lot longer - than I had hoped to get to this point, but I finally made it. Thank you all so much for your ardent support, both on the channel and on Patreon, it's really been a thrill to see it all.

Oh, and with regards to that odd thing cropping up behind the album art in the honourable mentions... pay no attention to it, it's nothing.

Next up is Foxygen, so stay tuned!