billboard BREAKDOWN - hot 100 - august 8, 2015 (VIDEO)

Yeah, a little late, but it uploaded late and I was tired last night. It happens.

Next up, Bea Miller, and then probably LMNO & Mr. Brady, followed by Ashley Monroe and B Dolan. Stay tuned!

billboard BREAKDOWN - hot 100 - august 8, 2015

Well so much for the summer lull. Even as the album release schedule has slowed a bit, it was a reasonably busy week on the charts, thanks to even more change-ups in country, a slice of album tracks from Future, and one of the biggest leaps to the Top 10 I've seen in a while.

video review: 'pound syndrome' by hopsin

Oh, I can't imagine this'll go over well...

Okay, next up is Billboard BREAKDOWN, but I could have a big announcement coming up. Stay tuned!

album review: 'pound syndrome' by hopsin

You're not going to find many underground rappers as controversial these days as Hopsin - and not for the reasons you might think.

See, I remember reviewing Knock Madness nearly two years ago and liking it, but upon repeated relistens, outside of a few tracks it's not exactly a record that's held up all that well. As much as I like Hopsin's flow and bars and his penchant for descriptive imagery and his desire to hit more serious subject matter, his material has its fair share of problems. For one, he's a better rapper than producer, and while he rides his beats well, they don't nearly have the texture to really hold up if there isn't more melody. But the larger issue comes in the dichotomy of his content and persona - like his main influence Eminem he uses the alternate Hopsin persona when he wants to get visceral or violent and the 'Marcus' persona when he wants to get more serious. The problem is that the line can blur and not only can it make some of his conscious material feel preachy, but it can also feel pretty hypocritical, especially when he talks about women. At its best - sort of like his singing and his hooks - it's corny and I can tolerate a fair amount of it, but at its worst it's more than a little insufferable, especially considering Knock Madness was nearly full throttle all the time and could have used some room to slow down and breathe.

And I'm not sure exactly when it was, but the critical conversation about Hopsin polarized in a big way with this shift in his subject matter, especially considering how much he was dicking with his fanbase, saying he was going to retire to Australia and then pull a Dumb And Dumber To joke to unretire and drop another album he produced himself. And look, I was going to cover this album: for the most part I like Hopsin, and you can't deny he can spit and even if Pound Syndrome sucked, it would at least be interesting, right?

video review: 'born in the echoes' by the chemical brothers

Yeah, forgot to post this last night. Sort of a last minute bit of craziness, things were wild.

Next up... well, not sure yet. I know Hopsin and Ashley Monroe are on the list, but who else... stay tuned!

album review: 'born in the echoes' by the chemical brothers

I've said in the past that for me, electronic music has been a discovery process in learning to explore and appreciate it - and this year more than ever, I've found more electronic music that I've really loved. But there's always been one big exception to that exploration, one electronic group I've known for years and have really loved, one genre-bending group that's been active since the 90s and has produced more than their fair share of critically acclaimed, absolutely killer records. And no, I'm not talking about Daft Punk.

Nope, I'm talking about The Chemical Brothers, the British electronic duo partially responsible for popularizing the 'big-beat' era in late-90s electronic music and one of the few groups to survive its collapse. Known for their bombast, aggressive sampling, killer grooves, and an uncanny ability to get weird and not implode or disappear up their own asses, The Chemical Brothers' first three albums are damn close to untouchable snapshots of their era, and while the quality got shakier throughout the 2000s as electronic music retreated back into the underground, they still produced quality, especially on the striking return to form Further in 2010.

But let's face it, electronic music is a much different place in 2015 than it even was five years ago. EDM smashed into the mainstream before fragmenting, the festival circuit is increasingly overstuffed, and the Internet is flooded with would-be samplers hoping that their off-beat brand of sampling gathers attention. And to some extent pure aggression isn't going to cut in the same way - while Further holds up a solid five years later with some killer grooves and great crescendos and progressions, it's always interesting to see if the old titans can still crush the David Guettas and Calvin Harrises of the world into the corners where they belong. Did Born In The Echoes pull this off?

video review: 'angels and alcohol' by alan jackson

Well, that was easier than expected. And shorter, too - probably one of the shortest reviews I've put together since my early days, but there just wasn't much to say.

Next up, Chemical Brothers, stay tuned!

album review: 'angels & alcohol' by alan jackson

Those of you who have been following me for a while know I'm a fan of Alan Jackson. Hell, when he dropped The Bluegrass Album back in 2013, it even landed on my list of my top albums of that year. And in that review, I struggled to articulate why Alan Jackson worked so damn well for me as one of my all-time favourite country singers. And since I grew up in the 90s listening to country radio, I doubt I'm all that unique there.

But about a year and a half later, I think I've managed to come to more of a conclusion in this particular category: consistency. With rare exceptions - his two gospel albums, the Allison Krauss-produced record he made in the mid-2000s, and of course The Bluegrass Album - Alan Jackson's material is oddly timeless to me, especially when it comes to the impressive line of classics he wrote himself. Since he started cranking out critically acclaimed records in the 90s all the way to now, he's had an impressive stream of quality for nearly twenty-five years - to the point where there'll be critics who find it hard to criticize him beyond, 'Well, he's in his comfort zone, he's done that before'. And to some extent, they're not wrong - produced by Keith Stegall, neotraditional country that doesn't shy away from rough subject matter that's always written with a deft touch and presented with boundless charisma and heart, it's definitely not cool music, but it doesn't need to be. And sure, he drifts away on occasion to the same lightweight beach material you'll see in a Kenny Chesney or Zac Brown Band album, but Jackson tends to infuse it with enough charm or humour that it doesn't just become mellow beach fodder, which is always a plus.

But recent years have shown a bit of a shift for Alan Jackson, a restlessness that led to him to part with his longtime label Arista Nashville and set up his own imprint at EMI. It led to his tightest collection of songs in 2012 with Thirty Miles West, the majority of which Jackson wrote himself. Then came The Bluegrass Album, the album he'd been threatening he'd make for years and proved that his threats should been followed through more often. But now we have a new slice of country from Alan Jackson, and you can bet I'm covering it - how did it turn out?

video review: 'dirty sprite 2 (DS2)' by future

I was expecting to be a lot harsher on this album, but it had its moments that did save it from awfulness. Not enough to make me hope for the future, but eh.

Next up, Chemical Brothers or Alan Jackson, stay tuned!

album review: 'dirty sprite 2 (DS2)' by future

I haven't been looking forward to this.

See, most people who follow me know my opinion on Future, a below-average rapper with a bad taste for autotune, a complete lack of interesting content, and an unfortunate knack for picking generic forgettable nonsense for his beats - or at least that was the case for Honest, his 2014 album that I reviewed and panned pretty harshly. And when I did that review, I wondered if I'd ever manage to get Future's appeal, because as an ignorant MC slamming out party bangers, his material has either underwhelmed or annoyed the hell out of me.

But even though Future has been bigger and more influential than ever as an MC, his past year hasn't exactly been good. After R&B singer Ciara called off their engagement and dumped him for cheating on her, Future has been cutting a furious swath of curdled anger across his mixtapes, none of which has made him look good as he embraces his drug-addled hedonism... which could have been interesting or presented a compelling moral if Future's bars and messages weren't so shallow and betrayed an ugly pettiness and that he was still stinging hard from the breakup. None of it had the class and grace of songs like Ciara's excellent 'I Bet', instead preferring to wallow in his own debauchery.

But to his credit, Future was slowly becoming a better rapper, at least in terms of his flow and structuring his bars, and I had heard his newest album, dropped with little-to-no promotion, was planned as a sequel to his breakout mixtape with some of the best beats of his career... well, I'll be honest, I didn't expect it to be good. But hey, I'm not against hedonism if he can at least make it fun, so does Dirty Sprite 2 defy the odds?

billboard BREAKDOWN - hot 100 - august 1, 2015 (VIDEO)

So, that week was pretty lightweight. No complaints, especially considering the rest of things look a little crazy.

Next up... hmm, I'll decide in the morning, I've got a good three or four reviews nearly ready. Stay tuned!

billboard BREAKDOWN - hot 100 - august 1, 2015

So we've now settled into the doldrums of summer, the time of year where everything seems to slow down and nothing all that interesting happens on the charts. The Top 10 was mostly static, not many movers and shakers, and even our list of returning and new arrivals is smaller than ever...

video review: 'something more than free' by jason isbell

And there's the second one. Much happier with this, hope it soothes the Tame Impala thing over.

Next up, Billboard BREAKDOWN - stay tuned!

album review: 'something more than free' by jason isbell

Okay, time for a confession: as much as I can look back on my year-end lists with a certain amount of pride - the amount of work that's demanded for them is huge, and I always love the reception - they're never perfect. Like it or not, I'm only human and I doubt I could listen to or review every bit of music that's released throughout the course of the year, especially considering I still have a full-time job and other projects and the modicum of a social life here. As such, it's inevitable I'll miss something.

And given I've often advertised myself as the 'only country critic on YouTube' - which I can see is starting to slowly change a bit, much to my great satisfaction - the lack of a review for Jason Isbell's critically lauded Southeastern in 2013 stands out like a sore thumb for me. Formerly a member of the Drive-By Truckers before going solo, he teamed up with Dave Cobb for a quiet, understated, incredibly well-written and powerful album that had a level of detail and poignancy that's rarely matched - and if there's an album that would have had a shot at overtaking one of the spots on my year-end list for 2013, Southeastern would have been it. It's not perfect - as much as I think 'Live Oak' and 'Elephant' and 'Yvette' are fantastic, they have to counterbalance the tonal whiplash of 'Super 8', and that's a tough balance - but it would have been close.

And though Jason Isbell has been lauded in the country scene for over a decade now as a fantastic songwriter, Southeastern won him more attention than ever. There were even reports that The Voice had tried to recruit him as a contestant, which he wisely declined, instead working on a new solo project Something More Than Free. So while of course I'm going to cover it now, part of it almost feels like penance for shortchanging Isbell in 2013 by missing Southeastern - penance I'm more than happy to do, especially if this album is as good. So, is it?

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?