video review: 'ken' by destroyer

I honestly think this might be one of my best reviews - what can I say, Destroyer brings out the poetic side of my writing in a really good way, I dug this.

Next up, some older business I should have covered a good month ago, so stay tuned!

album review: 'ken' by destroyer

It's hard to talk about Dan Bejar's work as Destroyer. Not just for its sheer diversity of tones and sounds that have flipped through a dozen different genres over the decades, but also because getting a grip on his writing... well, most people don't. Hell, even with every listen to his records I don't quite feel I always get his turns of phrase, and I've struggled to articulate why that is. Even on songs where he does get more direct - and there's been less and less of that with his work in the 2010s - the implications and subtext of his work often linger longer than the actual text, sometimes picking up enough of a foundation like in the cinematic swell and grounded themes of Poison Season, but other times... look, I like Kaputt, but that record can get lost in its own slick 80s-inspired sophisti-pop atmosphere, and I often find myself going back to the more grounded but still potent Thief, or Streethawk: A Seduction, or my personal favourite, the melodically stunning Your Blues.

But one tone I've always felt can be hit-and-miss for Dan Bejar was instability, mostly because I've always found him most compelling at his most refined and measured and emotionally expressive, where you can tell the structure reinforces and propels the emotional transcendence that his most poetic lines and delivery can hit. Without that structure, you get records like Trouble In Dreams and This Night, frequently compelling but messy in a way that gives you the suspicious feeling Bejar might be trolling his audience - and even if he swears he's not, it's not a feeling that goes away. Such was my concern with ken, which was reportedly scaling back from the grandiose power of Poison Season for something a little smaller and sleazier, with chill murky tones playing for noir but potentially tilting in over-stylized but conceptually underweight kitsch - in other words, the buzz was not exactly promising. But I wanted to dig into this for myself - Bejar is too good of a writer and too innovative a composer for me to not give this a chance, so what did I find in ken?

video review: 'letters never read' by dori freeman

Man, not a huge amount to say on records like this, but when it's this straightforward and good, you don't need to say much. Definitely check this out.

But now for something that's probably equally as good and not straightforward... well, stay tuned!

album review: 'letters never read' by dori freeman

There's a part of me that's always a little surprised that Dori Freeman doesn't get more buzz - but then I go back to that self-titled record from last year and remember instantly.

And believe it or not that's not a diss or anything! Dori Freeman's debut was one of many fantastic records from women in indie country in 2016, anchored in terrific layered and textured production from Teddy Thompson - son of the legendary Richard Thompson - and bound together with Freeman's writing that was subtle enough to soothe but sharp enough to sting when you least expect it. But subtle, plain-spoken indie country records like this can be easy to overlook, especially given the understated presentation... at least until you go back and remind yourself exactly why it's so damn good, which you can bet I did before listening to Letters Never Read, her follow-up that was just released. Now I did have a few reservations about this - more than a few songs were covers this time around, and yet it was only a ten song release that somehow is even shorter than the last two ten song records I covered, clocking less than a half hour. But on the other hand, it wasn't like Dori Freeman didn't pack her last album with detail on its short length, so what did I find on Letters Never Read?

video review: 'losing sleep' by chris young

And this was... I can't even say this was a disappointment, because it was pretty much exactly what I expected. Forgettable and boring, I won't give this a second thought in a day.

But next up, hopefully records that are much better, so stay tuned!

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

Well, this sucked. Amazingly Garth Brooks somehow has not flagged the video for copyright, but we'll see if that lasts...

video review: 'flicker' by niall horan

I honestly have no idea why so many people are surprised I find this so damn satisfying, but my god, it just works for me. I can see this growing on a lot of people, especially if he releases more of the Fleetwood-esque songs.

But now, for something far worse...

album review: 'losing sleep' by chris young

This is not the country record I want to be covering right now. If I had my way I'd be reviewing Turnpike Troubadours and Dori Freeman, two artists I'd argue are making far more interesting and compelling country music and I'm desperately hoping that my schedule will enable me to talk about them as soon as possible. 

But before then we have to get through a record from an artist that I used to like but now have no real expectations that he's going to make interesting or particularly good music. And yes, I know that's really harsh, but going into this, did I honestly have any evidence otherwise? Chris Young may have started in a very tasteful, adult-leaning neotraditional sound, and even his bro-country pivot did far better than it had any right to with A.M. in 2013, but his choice to work with Corey Crowder on production - whom in going through his credits doesn't appear to have worked on anything all that memorable - has resulted in a sound that goes back to that same 'mature' tone but with production and writing too flimsy to support him. So on top of feeling generally tepid, it's underserving an artist who frankly needs a richer instrumental palette to match his voice. It's one of the many reasons I'm Comin' Over was a disappointing and forgettable record for me, but hey, it notched just enough singles and sold enough copies to mean Chris Young had no reason to change or vary his formula - and the lead-off single and title track seemed to support that hypothesis. So, was I right about the rest of the album?

billboard BREAKDOWN - hot 100 - november 4, 2017

So I'm not saying this week was crazy busy or anything - it really wasn't, and outside of some notable shifts, most of our new arrivals feel pretty minor. But for the first time in some time I have the feeling that the charts are actively starting to shift in response to major releases, and I expect with weeks to come we'll probably see even more of it...

album review: 'flicker' by niall horan

I think I've been looking forward to this record more than... well, pretty much everyone else. And that's not entirely surprising - if you've followed One Direction's career arc, Niall Horan didn't really seem to stand out. Liam and Louis had more writing credits, Zayn and Harry seemed to have more personality and wanted to make bigger statements, with admittedly mixed results. Hell, even when I covered his debut single 'This Town', I expressed some surprise that he was out of the gate ahead of Harry and Liam, who would both go on to having more success throughout this year.

And yet there was an odd part of me that actually kind of liked this guy. I didn't think his writing was stellar but he seemed to have good instincts and a decent sense of maturity. And I liked many of his collaborators - I've always thought Tobias Jesso Jr. is better behind the scenes than on his own work, there's a credit from Dan Wilson formerly of Semisonic, somehow he managed to get a guest appearance from Maren Morris, and for as much as Greg Kurstin has frustrated me over 2017, for this sort of understated acoustic project I hoped he would be a good fit. On top of that, it was just over a half hour - it didn't seem to have the ambition to go huge that Harry and Zayn did, and if the writing was good, maybe smaller stakes could serve him well. So okay, did we get anything worthwhile out of Flicker?

video review: 'of erthe and axen: acts i & ii' by xanthochroid

Have to be honest, this one took a lot out of me, but a worthwhile listen all the same.

But now something light...

video review: 'lotta sea lice' by courtney barnett & kurt vile

So this was a pretty chill listen. Not much more than that, and the sloppiness did wear a little thin on me, but overall, not bad.

album review: 'of erthe and axen: acts i & ii' by xanthochroid

So here's one of the little benefits that comes with working in genres like black metal: given that you have no real obligation to fit to a radio sound or song structures or topics, you can pretty much write about whatever you want and audiences will typically be receptive of it. Granted, there are certain themes that have been present in black metal for some time and you typically want to work in similar territory to avoid being branded a gimmick, but you have more wiggle room than your average overmanaged pop or country or hip-hop act.

And into this scene comes the American progressive black metal band Xanthochroid, who broke out around the early 2010s with an EP and a debut record in 2012, but actually ended up gaining more traction and notoriety thanks to a couple of covers they put up on YouTube of acts like Wintersun and Opeth. But if you only know them through the covers you're missing a more ambitious band, one that in the grand tradition of metal groups has constructed an ongoing story arc behind their releases that seemed at least interesting. They also seemed to have a sense of humor and they made all of their lyrics readily available so I was definitely curious to check out that debut, and... well, it was certainly ambitious, that's for damn sure. It's also - like a lot of the black metal I've covered this year - pretty far away from the conventional sound, utilizing extensive clean vocals that for me can be hit-and-miss, overdubbed male choirs, acoustic sections, organ, and even flutes. And given the focus on building more of the grand narrative of their story, I was almost certain that they'd wind up in power metal eventually... but not just yet, because five years after that debut we have a double album followup, the first disc released in mid-August and the second just this week. And again, double albums can be tricky, and while I was convinced Xanthochroid could bring enough ideas to the table, it was still likely to be pushing it. So what did we find on Of Erthe & Axen: Acts I & II?

album review: 'lotta sea lice' by courtney barnett & kurt vile

So I think I've said this in the past, but sometimes there are collaborations that just make too much sense, almost to the point where when you hear about them you wonder how on earth you didn't think of it first. These are artists that might have a very similar style or attitude or type of production, it's just an artistic choice that fits. And right from the start, when a lot of critics heard that Courtney Barnett and Kurt Vile were teaming up, the collective response was, 'well, duh, of course they are'. 

But I was a little more reticent. I'll be the first to admit I haven't quite fallen head over heels for Kurt Vile the way a lot of critics have over the past few years, mostly due to a naturalistic style of songwriting and composition that was right on the borderline of sloppy. And if possible I was even harder on Courtney Barnett's debut in 2015, easily one of my most contentious reviews where I just was not able to buy into the self-contained millennial angst that seemed to add up to a fair bit less than the sum of its parts, all of Vile's detachment but none of the bemusement or wry humor that could temper an edge that was not matched in her production. But I understood how Barnett and Vile could compliment each other, with songwriting that would likely prove as tangled and meandering as ever - especially if they were looking to explore their own artistic process - but my curiosity was more on the sound of the album, because while Kurt Vile started off near lo-fi and garage rock, his material has gotten a fair bit more sedate over the past couple of years. So where were they going to take this sound?

video review: 'el dorado' by shakira

So considering the record dropped months ago, I'm a little astounded how well this video has done... heh, guess there really was some demand.

Anyway, next up is something new, stay tuned!

album review: 'el dorado' by shakira

Well, this is awkward, and I think an explanation is owed why I'm covering this months after it was released, because given how many times I've said I'm a Shakira fan, you'd think I'd be on top of this...

And yet I've been pretty reticent about reviewing this record and here's why: I don't speak Spanish. I know maybe a few words, I can maybe follow the general gist of it if I try, but I have a hard enough understanding French, and I'm Canadian! And thus when I discovered that Shakira's newest record has only a few English songs on it, I didn't have the same interest, because one of the reasons I like Shakira's songwriting is that her phrasing of English feels distinct and a little offkilter in a cool way. If I wasn't going to get that - and given that I was generally underwhelmed by the lead-off singles - I didn't have the same interest. And it's not even that I'm averse to covering music in a different language - I've covered black metal that's not in English, although you could definitely make the argument that lyrics are generally peripheral when it comes to that genre in comparison with pop. But as I've said in the past, I connect best to music when I can follow or understand the arc of the songs, and I was concerned about that with El Dorado, especially considering Shakira herself admitted uncertainty and writer's block going into it. So yeah, this might be a fairly short review, but my Patrons did laboriously vote to get it to the top of my schedule, so okay, how did it go?

video review: 'beautiful trauma' by p!nk

So I guess this blog has a longer history with me and P!nk than pretty much anywhere else... man, I wish this was a full return to form, but it's passable, I guess I'll take what I can get...

But next up, some new and old business on the horizon, so stay tuned!

album review: 'beautiful trauma' by p!nk

I remember the era when I used to be excited for a P!nk record.

And to explain why that is, some context is essential, because P!nk tends to get elbowed out of the pop conversation a lot more than she should, despite accruing the sort of hits and critical acclaim that have eluded so many of her contemporaries. She might have started in the prefabricated pop starlet scene on her first record, but by the time she dropped Misundaztood in 2001, that image had gone up in flames, mostly through an embrace of much rougher tones that fit her voice and cowriting credits from Linda Perry. And from there we can see the frustrated back-and-forth of P!nk's pop career - an industry desperate to capitalize on her charisma and firepower even as P!nk wanted to write songs that got more thoughtful or personal or raw, from the messy recording of Try This that still led to the titanic deep cut earworm 'Humble Neighborhoods' to the incredible chart run with I'm Not Dead and Funhouse that saw her rack up hit after hit along with smuggling songs like 'Dear Mr. President' into the pop conversation. No, it wasn't really punk, but P!nk seemed at least willing to run that gauntlet.

And then something happened. There seemed to be signs as early as 2010, but in 2012 we got The Truth About Love that seemed more sanitized and pop than ever - and yeah, it fit the overmixed sound of the time, pop rock had died a slow death by then, but it didn't fit her straining vocals and even if I don't dislike the album as much as I did five years ago, it was a painful low point for her, with Greg Kurstin and Jeff Bhasker trying to engineer a tone that used to come naturally and lyrics that could feel borderline self-parody in their party girl veneer that Kesha at least embraced with self-awareness - not even the Max Martin contributions were salvageable. And then P!nk left the mainstream entirely to work with City In Color on you + me and at that point I had just assumed she had left pop behind. But then came 'Just Like Fire', which felt like a pale shadow of everything P!nk had done before and wound up on my list of the Worst Hit Songs of 2016, and while 'What About Us' did seem like an improvement, I had no idea if Beautiful Trauma would bring any of the spark that I loved about P!nk back. The producers and collaborating list did seem a bit more promising - although like last time I was a little nervous about that Eminem collaboration - but hey, P!nk's still a phenomenal singer, so what did we get?

billboard BREAKDOWN - hot 100 - october 28, 2017 (VIDEO)

Well, this week was... weird. Lot of charity stuff, lot of prayer, and overall it's tough to see if there was a lot of quality. Eh, we'll see.

Next up, P!nk, stay tuned!

billboard BREAKDOWN - hot 100 - october 28, 2017

I don't often use the phrase 'be careful what you wish more' on this show - mostly because if a song I like gets big there's very rarely a huge negative consequence, but also because I've generally been pretty lousy at predicting the Hot 100 anyway. But if there's a week where that might apply on a generally scattershot week overall, it might be here, because if we take a look at yet another new #1...