video review: 'human' by rag'n'bone man

It's not good, let's just say that. Okay, Ed Sheeran and Sun Kil Moon are next, stay tuned!

album review: 'human' by rag'n'bone man

Of all of the acts that I've covered on this show, especially in recent months courtesy of Patreon, this is arguably one that I have been looking forward to the least.

I know, harsh allegations, especially for an act who is currently racking up hits in the UK, but indeed, that's part of the issue. Unlike most people, I knew about Rag'N'Bone Man, real name Rory Graham, back a few years ago, and I was not surprised to see a significant push behind him, especially in the wake of rougher artists like Hozier blazing the trail for bluesier acts having success. Hell, in an episode of Billboard BREAKDOWN I used every possible excuse to avoid talking about Rag'N'Bone Man, even calling him a Hozier rip-off... which got me a fair amount of flak from people who told me that he actually predates Hozier and he had been pushing out EPs since the early 2010s. Believe it or not, I actually did know this, mostly through his affiliation with a few smaller British hip-hop acts. But that indeed might have been part of the problem for me - Hozier trended towards blues rock and gospel, rougher genres that demanded grit and a darker brand of howling soul that I really came to love. And while Rag'N'Bone Man was capable of that sort of sound, most of his early EPs played closer to neo-soul and pushed him into his smoother upper register and featured hip-hop guest verses, he was going in a different direction.

And then Hozier's self-titled debut sold over a million copies worldwide for Island and you can tell that the major labels wanted to have at least somebody who could compete in the same territory. Atlantic had Ed Sheeran who was even bigger, Interscope had Imagine Dragons - although  Smoke + Mirrors wouldn't help  - Republic snatched up James Bay who would go on to make 'Let It Go' an adult alternative hit, and Columbia... see, that's the thing, they were distributors for Hozier, they didn't need another act to play in this lane while Hozier worked on his sophomore project unless they were looking for R&B/neo-soul crossover... which I doubted. And yet here we are with Rag'n'Bone Man, for whose breakout single 'Human' you can largely thank Hozier for popularizing that style, especially in the UK. But I do like Hozier, and even though I didn't really care for 'Human', maybe Rag'n'Bone Man might be able to recapture some of that magic on his full-length debut?

video review: 'felony blues' by jaime wyatt

Yeah, not a huge amount to say about this one - short, sweet, and awesome, definitely recommend this a lot.

But next up... okay, it looks like we have this Rag'n'Bone Man project before I get to Sun Kil Moon and Ed Sheeran, plus Logan, so stay tuned!

album review: 'felony blues' by jaime wyatt

So let's talk about the prison-industrial complex.

And believe it or not, that is a relevant topic to my content, specifically in a lot of the music I cover and not just because I've occasionally been told I remind people of John Oliver on Last Week Tonight - I'm extremely flattered, but he actually has production value and humor to back up his analysis. In this case, we're going to talk about how it relates to music and artists, because beyond the outlaw context, we should consider necessity in the modern age. Think about it: when you consider the percentage of the population that is incarcerated, especially for trumped-up drug offenses, and the fact that many companies will disqualify people based upon convictions during background checks, sometimes the DIY approach to the creation of art and music might be the only way to make a little money. Now that's not to say it's a method for everyone - music equipment is far from cheap, and not everyone has the means or talent to step into that arena, but as a possible path to avoid recidivism, it's not a bad one, especially if you can tell the story of your experience. 

And what's also notable is the historical precedent - many will make the obvious connection to hip-hop, but in one of the many, many parallels between the genres, these themes have been rooted in country music for decades, albeit a lot less so in the mainstream. Hell, if you read about how many times the greats in country were either in and out of jail because of their own wild lives, I'm always a little surprised that we don't see more of these themes continue, especially as the population percentage of incarceration continues to rise and with the growth and evolution of the truly horrible modern court and prison experience. So into the indie country scene comes Jaime Wyatt, who once had a few record deals that went nowhere before running afoul of the law and actually spending time in prison herself. And since she couldn't find conventional work after getting out, she turned to country music and put together a few projects along with some soundtrack work, with her first album From Outer Space coming 2015 and now this, aiming to tell more of her story. At seven tracks, it's a lean affair, but the critical acclaim it was receiving - to say nothing of themes that could often feel all the more relevant in modern America - meant that I had a vested interest in digging in. So on this project, did Jaime Wyatt deliver?

video review: 'reassemblage' by visible cloaks

Again, I have no idea how many people are going to watch this review, but it was a fascinating one to put together, and I'm grateful for that at least.

Next up looks to be Jaime Wyatt, and that'll be a cool project, so stay tuned!

album review: 'reassemblage' by visible cloaks

This'll likely be one of the stranger reviews I've done in some time.

Granted, I could say that about the majority of electronic music I cover, especially the more experimental and 'quirky' it gets, but Visible Cloaks sits in a peculiar space all on its own, to the point where I'm not quite sure how to properly describe it. The project of composers Spencer Dolan and Ryan Carlile, the sound sits in an odd plucky brand of warbling ambience that sparks and careens off of all sorts of bells and whistles that played fast and loose with any idea of consistent key or tempo or groove. That's certainly what I felt about their self-titled debut project, which as expected had a certain homegrown Bandcamp quality in its meandering experimentation but also brought a level of quality and poise in the compositions that did draw my interest. And when their sophomore project began picking up considerable critical acclaim... well, suffice to say my interest was piqued. So what did we find with Reassemblage?

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

Man, this was a week of surprises - half songs I didn't think I'd like as much as I do, half because there wasn't a single damn Future song that I liked (and believe me, I tried).

Eh, anyway, next up we have something I wanted to talk about that's a little on the weirder side, so stay tuned!

billboard BREAKDOWN - hot 100 - march 11, 2017

So I didn't have a good feeling about this week going in, mostly because I knew what was coming. I knew that we were getting the first half of Future's 'two albums in two weeks' mistake, and when you follow it with The Chainsmokers working with Coldplay, Linkin Park working with Kiiara, and Lana Del Rey, I was gearing up for a disaster... and that's before I found out about our biggest new arrival, but we'll get to that.

video review: 'boy thursday' by KNIVES

And now I finally got to a project that, well, if you're a hardcore punk or post-hardcore fan or you like rap rock, you'll probably dig it. Beyond that... eh, the writing's good, at least.

Beyond that, Billboard BREAKDOWN is next, and I have no idea where my schedule goes, so stay tuned!

video review: 'theater of dimensions' by xandria

You know, I don't know if I had covered this a few months ago I would have gotten more hits off of it, but I am a little disappointed this doesn't seem to be attracting more attention. Eh, it happens, but still...

Anyway, it's not the only review I'm dropping tonight, so stay tuned!

album review: 'boy thursday' by KNIVES

So as I've mentioned a number of times, I didn't go through an angry white boy phase in my teens - I jumped pretty much from mainstream pop and hip-hop radio to power and symphonic metal, and that meant I pretty much skipped modern rock radio. And a big consequences of that is that I came to the nu-metal rap rock scene much later in my early twenties in comparison to many others - it was not a formative part of my musical evolution. And I'm kind of grateful for that, because upon revisitation with rare exception, a lot of rap rock tended to be really bad, especially in the late 90s the closer it crept to the gut-churning angst of nu-metal or the overblown and frequently disgusting machismo of acts like Limp Bizkit. This was music that rarely bothered to be tuneful or driven by consistent grooves or strong musicality, and that's before we get to the often atrocious lyrics. Now that's not saying I didn't find stuff I liked: I've always been a big fan of the Beastie Boys, and when you follow it with solid work from the Red Hot Chili Peppers, Faith No More, and Rage Against The Machine, there is a subset of this music I like, especially leaning towards more of the punk side.

And there's a part of me that feels this genre could sustain a comeback, potentially even driven from hip-hop instead of rock. Acts like Doomtree and Run The Jewels are only getting production that is more aggressive and abrasive, and that's before you touch on mainstream acts like Eminem, who I'd put money on pursuing more of a rap rock direction if he drops a record in a year or so, especially if he goes more political. And so into that vein comes KNIVES, a new band fronted by L.A. rapper J. Medeiros, who you might know from his association with Rawkus Records or his work with The Procussions in the early 2000s. Medeiros has actually been active since the late 90s - and pretty damn prolific at that, so in addition to a planned debut from his electronic/hip-hop project AllttA later this year, he's been pushing a rap rock band inspired by punk and post-hardcore called KNIVES. They have a debut record, and in the aftermath of covering P.O.S and not getting the political material for which I hoping, I thought this would be a good step - was I right?

album review: 'theater of dimensions' by xandria

So I've talked a little before about the rise and growth of symphonic metal on this channel, but one thing I haven't touched on as much was the very brief moment in pop culture where it crossed into the mainstream, specifically in the early-to-mid 2000s. Of course, it was the sort of crossover that was driven by one of the absolute worst entries - yes, I'm talking about Evanescence, and you'll get the full extension of that rant if they ever release that next album they're threatening - but for a brief segment of time, acts like Nightwish and Within Temptation had a chance to at least snag attention on the fringes of rock radio, and you definitely saw their sound on albums like Century Child, Once and The Silent Force pivot slightly in that direction.

But one factor that tends to get overlooked is like with any other trend, there arises bands that want to copy or at least get a taste of that same success, and symphonic metal was not an exception. You had obvious wannabes like Delain which continue to this day or bands like After Forever, which disbanded only a year or so after the boom collapsed in the mid-to-late 2000s. And somewhere in the middle falls Xandria, which despite forming in 1997 didn't release a debut album until 2003. And for the next five years, right in the heights of the subgenre's boom, they released four albums, none of which I'd argue are all that memorable or well-produced, with India probably being the best of them. And yet as the 2000s ended, rotating through singers and bassists and guitarists, you could easily make the statement that the band might not last.

And then something strange happened. After a fairly solid release in 2012 with Neverworld's End with Manuela Kraller fronting - the only record for which she was frontwoman - the band seemed to stabilize their lineup with the recruitment of Dianne van Giersbergen, arguably their best lead singer to date - of no relation to Anneke van Giersbergen, I should stress. And with the release of 2014's Sacrificium, I started noting a marked improvement in the arrangements and writing, to say nothing of some more spacious production. This was even further enhanced on the sharper EP Fire & Ashes, and thus I had reason to hope going into Theater of Dimensions that the improvements would continue - was I right?

movie review: 'get out' (VIDEO)

Man, I'm thrilled there was so much interest in this so I could cover it, because it was a fantastic movie and worthy of so much praise. AMAZING flick.

But back to music reviews, I've got Xandria and KNIVES and man, my schedule somehow got insane again. Stay tuned!

video review: 'sing it now: songs of faith & hope' by reba mcentire

I really need to get better about posting these videos when they're done and up, this one took nearly three days... granted, it was absolute hell to edit and put together, but still, no real excuse here.

Next up, though... stay tuned!

album review: 'sing it now: songs of faith & hope' by reba mcentire

I don't even know where to start with this one.

See, when I saw this come up on Patreon, I literally went to the guy who requested it and asked politely if I could skip it or he could ask for something else, and I figured I'd have good ground: after all, it's a selection of traditional religious hymns, that's not something any critic normally covers. And there's a very good reason for that, given that the music on a record like this is normally secondary at best, with instead the main purpose being for worship. And again, that's not saying that music can't have religious themes, but when you're considering the art of it all, you're left scrabbling for something that's often not even as relevant, especially on a lyrical level. There are, of course, exceptions, but in certain brand of evangelical gospel, poetry and writing often take a back seat to conviction.

But then it was pointed out to me that there was indeed a second disc of entirely original religious songs... and I still wasn't very satisfied at all, my overall point still stood. But then I thought, 'Well, hey, this is Reba McEntire, the country artist who managed to survive the overly sanitized 80s in order to become one of the most impressive and long-running hitmakers in the 90s, there'd undoubtedly be some quality here'. And hell, I even stand behind her self-titled TV show as being a lot smarter and well-written than so many people gave it credit, and she was an expressive actress. And it wasn't like there wasn't a demand for this album: it debuted at #4 on the Billboard 200, it sold tens of thousands of copies, people clearly were interested. And hell, I still have faith, even though my view of it is a lot more complex and layered than what you typically see in evangelical parishes, so maybe this record could move me despite my extreme skepticism. So are these songs of faith and hope up to that challenge?

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

Well, this week was all over the place - and seemingly like every meme-associated review I do will probably wind up with a ton of hits, go figure.

Next up, though... actually, I have no idea how many hits this next review will accrue, we'll see. Stay tuned!

video review: 'DROGAS light' by lupe fiasco

I expected there to be a much bigger backlash on this video than what we got. Not complaining, mind you, but an interesting observation. 

Next up, though... after Billboard BREAKDOWN, things get interesting, so stay tuned!

billboard BREAKDOWN - hot 100 - march 4, 2017

Okay, so as you can all probably see, this episode of Billboard BREAKDOWN is a day late. This is because of President's Day in the United States, another holiday that extends the chart week... and considering the Grammys happened, it also seems to have the peculiar impact of blunting their overall impact on the Hot 100, at least in the way I expected. Now that didn't mean it didn't cascade through - we'll get to that - but it also meant that we got another overloaded week full of changes...

album review: 'DROGAS light' by lupe fiasco

Anyone else get the feeling that Lupe Fiasco is trolling all of us?

Look, I've made my complicated feelings on this Chicago MC public before: an imaginative and fearlessly ambitious MC who never felt comfortable with the mainstream due to his tendencies to indulge in all manner of twisty, cerebral weirdness. And the key word is 'indulge': he has the same penchant for extravagant ambition that can make for incredible moments and songs like 'Prisoner 1 & 2'... but can also lead you to the impression that despite good flows or beats his material is more clever than outright insightful. Which is frustrating, because when Lupe could focus on smaller subjects he made songs like 'Kick Push' and 'Deliver' which allowed him to channel his underappreciated pop sensibility, he made phenomenal tracks. But at the same time, he's also got more than fair share of big idea duds that don't have the intellectual heft to back their pretensions - and sometimes he doesn't even have the big ideas!

Yeah, if I had major concerns going into DROGAS Light, Lupe Fiasco's first fully-independent hip-hop album, it was coming in the buzz that this was a 'refinement' of his infamously contentious and very mainstream-focused LASERS from 2011, not aiming to be as cerebral or progressive. The problem is that I've heard Lupe do this sort of satire of mainstream hip-hop before back in 2014, and his commentary has never really impressed me - especially in comparison with artists who brought more real bite to that sort of satire and especially in 2014. So if we were looking at a full hour's worth of that, which many critics have condemned and Lupe himself has only given a 7/10... well yeah, I was worried. But hey, if I was to give LASERS credit, for a radio-friendly record Lupe does know his way around a good hook and even if the content wasn't up to snuff maybe he could bring a couple great bangers here, right?

video review: 'little fictions' by elbow

Well, it took me entirely too long to get to this, but I'm happy I did. But next up... hmm, it's going to be interesting, I can't imagine the fallout will be fun. Enjoy!