video review: 'currents' by tame impala

Well, I can't imagine this review will go over well. Eh, those happen.

Next review coming in a bit, stay tuned!

album review: 'currents' by tame impala

So here's one of the frustrating things about being a music critic who still has a massive backlog - as much as I try, I can't cover everything within the course of a year, and you occasionally miss things or listen to albums out of chronological order. And on the one hand this can be rewarding as you can go back and listen to the classics and hear the musical elements that eventually became influential. But on the other hand, it also shows how some of said elements were further expanded or explored by other groups and you don't end up with the same appreciation of the 'original' article.

Want an example? I originally heard of Tame Impala back in 2012 when they showed up on the collaboration album The Flaming Lips and Heady Fwends, and of the many, many acts that showed up on that album, their contribution wasn't exactly one that stood out all that much and I consequently never really bothered to delve deeper into the group. So when I started getting requests to cover them this year, it was really my first time exploring them in-depth, and I was definitely excited to see what this critically beloved band could deliver...

And man, I was underwhelmed. I'm not saying Tame Impala or either of their first two albums are bad - as a fan of psychedelic rock, they're very listenable - but the hype behind the group baffled me. The instrumentation was sprawling and languid but rarely brought enough driving groove in the percussion, instead smearing over so many of the melodies and vocal lines with egregious electronic effects that often felt like they muffled some real texture. Yes, Lonerism was definitely an improvement, but not being in love with Kevin Parker's vocals or his lyrics, which could definitely tread into exasperating territory, even if it is intentional, I found it hard to really appreciate them as much as I wanted. And it didn't help that the more I listened through Lonerism, the more I just wanted to go back and listen to Sun Structures by Temples, which brought a much more groove-driven, memorable brand of psychedelia to the table.

But seemingly like every indie band these days, Kevin Parker decided to focus more on a synthpop, even disco-inspired approach for his newest release, shifting from more guitars to synthesizers. Which to me was a little concerning, as the noisier guitar elements were the piece I liked the most off of Tame Impala's first two releases. But hey, maybe it'll mean they'll focus more on giving the melodies more presence, so I checked out Currents - what did we get?

video review: 'twelve reasons to die ii' by ghostface killah

I honestly expected this review would have more to it, given how long it took going through Ghostface's discography, but eh, it happens.

Next up... actually, not quite sure. Fair few number of projects have accumulated, between Jason Isbell, Alan Jackson, LMNO & Mr. Brady, Chemical Brothers, Tame Impala... yeah, I got my hands full. Stay tuned!

album review: 'twelve reasons to die ii' by ghostface killah

Let's talk a little bit about sequels. Specifically, the sequels to concept albums, because especially in hip-hop, the album 'sequel' is nothing all that special, and rarely has anything to do with the actual original piece. Now concept albums are rare enough in hip-hop, but sequels to them are even rarer - and for the most part, not exactly an idea of which I'm all that fond. After all, isn't the point behind a great concept album is that it's self-contained, managed to tell the entire story within the confines of the record? Don't you undercut some of the story's original punch with unnecessary sequels?

And in this case, it makes a little less sense than usual. When Ghostface Killah set out to make his exploitation homage record Twelve Reasons To Die with Adrian Younge handling all of the production, I was initially really intrigued, being a long-time fan of 70s exploitation flicks and of Ghostface Killah, a rapper who has dropped more than his fair share of outright classic hip-hop records both with Wu-Tang Clan and on his own. Seriously, go back and relisten to Supreme Clientele and Fishscale, the man is seriously talented as a wordsmith and rapper, with the sort of versatility and intensity you love to see in great rappers. But more than that, Ghostface was a storyteller, and he had a knack for the hyper-stylized tales of crime and debauchery that'd add a lot of colour to this sort of gangsta parable, where Ghostface is betrayed and killed as a crime boss before rising to slay his adversaries in increasingly gruesome fashion.

And yet I wouldn't say Twelve Reasons To Die is in the upper tier of Ghostface records. For one, Adrian Younge production captured a lot of the eerie vibe but always felt a little too slick and lacking in texture to really nail the grimy, blaxploitation vibe. If I'm being honest, I might like Apollo Brown's soul-sample remix a little more, because even though it doesn't have the same operatic theatricality, it feels more authentic to the era or at least to Ghostface's flow. But the larger problem is that there really wasn't room for a sequel - it's a quick, gruesome, self-contained tale that doesn't really have the overloaded plot you would expect out of most exploitation films of the time. So it begged the question what additional stories Ghostface Killah could tell - or maybe he was just hunting for quick name recognition as he continues to flood the market with project after project. But hey, Ghostface is nothing but imaginative, and I was curious where he'd take this - does Twelve Reasons To Die II hold up to the original?

video review: 'communion' by years & years

Well, this happened. Honestly hoping this record had been better, but it happens.

Next up... honestly, not sure. Probably Jason Isbell, but it'll depend what I feel like in the morning, might cover LMNO & Mr. Brady instead. Stay tuned!

album review: 'communion' by years & years

So it's a tagline on Billboard BREAKDOWN that the 'Canadian charts are always better' - and while I'll be discussing that peculiarity a little later, I wouldn't say it's always completely true. As much as I'm a proud Canadian, I'd be lying if I said that a significant chunk of songs that are bigger hits up here are simply due to early crossover from the UK, where they tend to debut first.

So why isn't the phrase 'the UK charts are always better'? Well, quite simply, the UK Official Charts are goddamn weird. Putting aside the fact they don't have a recurring rule which can mean songs can return to the charts without warning, the smaller population means that weird oddities can surge from out of nowhere to huge success. Sometimes these oddities are awesome, most of the time they're unbelievably annoying, and there are points where I'm baffled who in their right mind thought letting this into the mainstream public was a good idea, but the wild disparity of quality means I tend to be a little wary of hits crossing from the UK.

All of that being said, the initial buzz coming for the newest album from UK synthpop/electronica trio Years & Years was extremely positive, even in a year overloaded with synthpop. The group formed in 2010, and began releasing singles in 2012, but it wasn't until 'King' went to #1 in the UK that I started taking serious notice of them and figured I might as well check out their debut album Communion, which is an amalgamation of several EPs - how is it?

billboard BREAKDOWN - hot 100 - july 25, 2015 (VIDEO)

Man, this one actually turned out pretty well - with the exception of whatever the hell is up with my hair. God, that swoop on the right looks terrible...

Anyway, Years & Years, Jason Isbell, and Ghostface Killah coming up, so stay tuned!

billboard BREAKDOWN - hot 100 - july 25, 2015

Yes, I'm going up a Tuesday - no, not like that. What sort of rampant insanity is this?

video review: 'coma ecliptic' by between the buried and me

So that happened. Honestly hoped it'd be a little better, but eh, it happens.

Next up, well, I was originally going to cover Years & Years, but expect schedules to change...

album review: 'coma ecliptic' by between the buried and me

Oh, I bet there's a whole slew of you that are surprised I'm covering this. 

See, I'll admit that I don't cover a ton of metal outside of a few specific genres, most notably towards the progressive or symphonic side. So my choice to talk about a group that has crossed plenty of genres but probably falls closest to technical death metal probably raises a few eyebrows.

Well, funny story: I got into Between The Buried And Me in university, basically on a couple suggestions that I should check out Alaska and Colors because they were genre-bending masterpieces. But unlike an act like Cynic or Devin Townsend where I immediately found a lot to like, Between The Buried And Me took a fair bit longer to really gel with me - mostly because they're a complicated band known for dramatic switch-ups midsong in tone, tempo, or even genre that could be jarring as hell. I could appreciate the killer musicianship and some underrated and clever songwriting, but finding cohesive songs was a little trickier, especially on their first two releases. But once they had a stable line-up, solidified their sound, and worked out a more cohesive flow, they had the one-two punch of Alaska and Colors. And while I liked Alaska, I goddamn loved Colors - a phenomenally cohesive, strikingly memorable, and powerfully evocative record that grows on me with every listen.

But after those two... well, I did like The Great Misdirect, but I was also getting the impression that the genre-crossing was starting to come at the steep price of cohesion, especially when the writing couldn't always bridge the gap. The album had only six songs, but several went over ten minutes and had enough ideas for a good four tracks apiece. There was a little more focus on the The Parallax records, an EP and full-length released in 2011 and 2012, but the more I listened through them, the more I saw the cohesion just not there as much as it was at their best, and the integration of more keyboards and more electronic segments in their production oddly didn't help. But hey, they were on a new label at this point, maybe their newest album, another concept record, might be able to recapture that old magic. So I checked out Coma Ecliptic: did it pay off?

video review: 'cilvia demo' by isaiah rashad (two year anniversary)

Man, it's been a great two years. Thanks again for all of your views and support, it's definitely appreciated.

Next up, Between The Buried And Me and Years & Years - stay tuned!

album review: 'cilvia demo' by isaiah rashad (two year anniversary)

I have no idea why I didn't cover this in 2014.

Well, okay, I have some idea. This record dropped in late January of last year, and I'll admit I was still very much on the learning curve of album reviews at that time, especially when it came to underground hip-hop. And part of it was a cheap justification on my part - I rarely if ever cover EPs, and Isaiah Rashad had said Cilvia Demo was an EP, even despite being longer than some full hip-hop albums.

But upon reflection, it's one of those records I probably should have covered regardless. Critics following hip-hop are always wise to keep a keen eye on Top Dawg Entertainment, and Isaiah Rashad was one of their first recruits beyond the original four rappers of Kendrick Lamar, Schoolboy Q, Ab-Soul, and Jay Rock, two who dropped solid albums in 2014, one who dropped a near-classic this year, and one who has been keeping us waiting an exasperatingly long time for new material. A southern MC that had a knack for balancing more conscious bars with slightly more hedonistic material, at first glimpse it's almost a little surprising Isaiah Rashad didn't get a hell of a lot bigger in the mainstream, given his style.

And while fellow new arrival SZA generally underwhelmed me with her debut Z, I had some hope going into Cilvia Demo. The reception had been generally positive across the board, earning its fair share of critical accolades and probably only slipping off some lists due to being releasing in January and being forgotten, which can happen if you have a record with more of a subdued vibe. So I definitely took the time to dig deep into Cilvia Demo - was it worth all of your requests?

billboard BREAKDOWN - hot 100 - july 18, 2015 (VIDEO)

Hmm, that episode turned out bizarrely well. Just going to roll with it, hope it continues, especially after how unbelievably shitty yesterday was.

Next up, my album for my two year anniversary! Stay tuned!

billboard BREAKDOWN - hot 100 - july 18, 2015

...ever have those days when everything you expected just goes wrong in spectacular fashion? You'd think that I'd have more of those days, considering that I have this show and attempting to predict the evolving tastes of the American public - or at least what the music industry thinks the American public wants - is an exercise in guesswork at best. But I thought after thirty weeks doing this show, I thought I had a reasonably firm grasp on it - and boy, did this week prove me wrong. And that would have been fine - I generally like surprises - except it went wrong in the worst possible way.

video review: 'mobile orchestra' by owl city

Man, this was a disappointment. Adam Young, you can do so much better than this.

Next up... well, I originally thought I wouldn't have to do Billboard BREAKDOWN tomorrow thanks to the chart switchup, but turns out I was wrong, it's the week after. So, Billboard BREAKDOWN and then Between The Buried And Me. Oh, and plus a special surprise for my two year anniversary - stay tuned!

album review: 'mobile orchestra' by owl city

I like Owl City.

And that's not a statement many music critics will make, especially considering when Adam Young adopted the moniker and smashed into the mainstream with 'Fireflies', he was described as the overly twee rip-off of The Postal Service. And yeah, going back to it, the similarities are pretty blatant on the surface, but Owl City quickly distinguished himself with distinctive melodies, a knack for quirky synths that stuck in the brain, and the sort of overwritten, detail-infused lyrics that walked the line between honest and poignant and hopelessly kitschy and ridiculous. It didn't help matters that Owl City made no secret of infusing religious iconography into soaring anthems that could ride the line of tolerability with me - not quite evangelizing, but getting dangerously close to the scrubbed-clean, drama-less purity that makes up the most inoffensive and boring of Christian music.

That was his earlier material, but as the years passed, Owl City's material seemed to be getting more and more bland with every passing year, culminating in his 2012 release The Midsummer Station - and sure, there are songs I liked on that album, but it seemed like the unique blend of overly earnest poet, melodic mastermind, and anxious hypochondriac was staying closer to the mainstream and losing the personality that made him special along the way. And sure, I love 'Good Time' with Carly Rae Jepsen for being a damn solid pop song, but it's not on the same plane of originality as his best work, and in an increasingly oversaturated synthpop scene, I had no idea what Owl City's new album would deliver. And it didn't help matters when I saw the feature list: I like Aloe Blacc, but when I think of his features, I think more of Dilated Peoples and Fashawn than Owl City, and Hanson's been doing their own indie pop thing for years now, the team-up only made sense in terms of relative innocence. Probably also the reason Christian pop artist Britt Nicole is here... and then there's Jake Owen, likely angling for a pop country smash that'd bring in his own lightweight sensibilities. 

And considering I knew fans of Owl City who had really turned aggressively on this album, I prepared myself for the worst: how did it turn out?

video review: 'free weezy album' by lil wayne

Man, I was conflicted on this one. Not especially bad, but it should have been a whole lot better.

Next up... you know, I could continue on this whole hip-hop thing and tackle Meek Mill, but I dunno if I really care enough... eh, we'll see. Stay tuned!

album review: 'free weezy album' by lil wayne

It's hard to talk in today's hip-hop scene about Lil Wayne. His fans think he's the greatest rapper alive, a pioneer of creative rapping techniques and wordplay that managed to accrue mainstream hits through pure explosive technique, disgustingly catchy hooks, and unquestioned bravado. Others see Lil Wayne as a charismatic rapper but lacking in technical skill and prone to bad fits of hyperbole and the occasional atrocious line that is impossible to ignore. Still others see him as a toxic presence who brought lean, Autotune, rapping words with themselves, hashtag rap, and the absolute abortions that are Rebirth and I Am Not A Human Being II to the table and little else, massively overrated by an obsessive fanbase and responsible for enabling the laziness of him and large chunks of his Young Money crew. And all three groups will inevitably argue with each other in the comments of this video and will take issue with what I say regardless of whether it's positive or negative.

See, here's the thing: they're all right to some extent, at least at specific stages of his career. When Lil Wayne started making some critical impact with Tha Carter, he was a hungry MC who had a solid flow, a ton of swagger, and a lot of creative and mainstream-accessible wordplay. And that continued into both Tha Carter II and Tha Carter III, which were both genuinely great album that I really dug. And then Rebirth happened and while the record was a commercial failure and critically savaged - for good reason - it didn't immediately ruin Lil Wayne's reputation - he was still pumping out mixtapes at a frankly ridiculous pace. But then I Am Not A Human Being was underwhelming and Tha Carter IV didn't live up to its name and I Am Not A Human Being II was absolute shit, and popular buzz was that if Lil Wayne hadn't fallen off completely into a pit of his own reckless hedonism soaked in laziness, lean and increasingly asinine sexual references, he was nowhere near his best anymore.

So I will admit to being surprised when the feud between Lil Wayne and Birdman erupted near the end of 2014, with Wayne accusing his former mentor of blocking releases - which baffled me, considering Lil Wayne has long had enough free rope to hang himself multiple times over. The ultimate result was a well-publicized split with Cash Money and Lil Wayne signing with Jay-Z's TIDAL - which to me felt like a bad idea, especially considering a Wayne endorsement might not be enough to save TIDAL from being the money-pit disaster that it is. But on a bigger level, Jay-Z also does not deal well with stupid or incompetence, and unless Wayne can stay sober and producing quality - which given his
track record is still up in the air - I see this backfiring. But putting all that aside, we now have Free Weezy Album - how does the newly liberated Lil Wayne sound?

video review: 'every hero needs a villain' by czarface

Almost forgot to put this out. Seriously, check out this album, it's awesome.

Next up, almost momentarily, new Lil Wayne - stay tuned!

album review: 'every hero needs a villain' by czarface

So I occasionally get asked by non-fans of hip-hop how I can excuse the lyrical content, which can focus on crass materialism, unbridled hedonism, rampant drug abuse, and violence. And normally after I roll my eyes - seriously, what genre beyond the most sterile of bubblegum pop or any art hasn't touched on all of these subjects in some form - I often inform them that there's different varieties of hip-hop and how seriously you can take them. Now some of the more political material like on Kendrick Lamar's To Pimp A Butterfly I take very seriously - and even with that and a far less violent message compared to the incendiary material from Run The Jewels, you're still going to get cretins on FOX News misinterpreting it and trying to ram down a message of promoting violence. Seriously, the only time FOX remotely gets close to discussing hip-hop or the black community with any sort of credence is - ironically - when Killer Mike is a guest star.

But there's always been a competitive element to hip-hop and that tends to mean confrontational language is used, often with violent imagery, and when you start treading towards horrorcore or gangsta rap, things get a little trickier, especially when you acknowledge while it might be entertainment for the consumer or the critic, it might be very real for the artist creating it who grew up in that environment, and consideration and empathy should be shown. Of course, there's another way: make the violence so hyperbolic and exaggerated that it almost becomes like a cartoon. It doesn't mean the message is any less potent, but it's conveyed in a different way - analogous to the way Tarantino smuggles his 'message' movies through the guise of b-movie exploitation. Run The Jewels can walk this line, and so can Action Bronson.

And this is where we run into Czarface, half the underground hip-hop duo 7L and Esoteric, and half the Wu-Tang Clan member Inspectah Deck. I'll admit not always being the biggest Wu-Tang fan - part of it is that I just haven't had the time to fully unpack and decode all of their albums across their storied history with several solo members having full discographies of their own. But Czarface interested me, if only because the lyrics overloaded with references to comic books, pulp sci-fi, and pro wrestling merged with sample-heavy old-school production reminded me a lot of MF Doom in a good way. I guess if I were nitpicking, I wasn't the biggest fan of their debut, which was solid but occasionally lacked killer standouts and did drag a little by the end, but with a stronger feature list than ever, I figured I'd give the sophomore record a listen - was it worth it?