video review: 'positive songs for negative people' by frank turner

Fairly solid release, fairly solid review, no complaints there. Honestly hope my throat feels a bit better, Billboard BREAKDOWN is always crazy.

And speaking of that... whoo boy, get to talk about Lana Del Rey tomorrow, joy...

album review: 'positive songs for negative people' by frank turner

On some level, punk is always going to be a young person's genre. The raw anger, the focus on passion and energy over meticulous craftsmanship, the vitriolic power with maybe the nuance coming later, all of this shows up most in the heady rush of youth. So what happens when a punk grows up and encounters the crushing weight of adulthood?

Well, any number of things happen. Some will keep the faith, some will fade out of the scene naturally, some will even double down and rage all the harder, and some will opt to refine their simple songs into something with a little more weight or maturity or complexity. As such, it's not all that surprising that some punks will drift towards folk rock or rock operas or even alternative country, trading explosive energy for tighter songwriting or more grandiose presentation.

And one of the best examples of that is Frank Turner, who initially started in post-hardcore before going solo and making highly lyrical and yet no less passionate folk rock drenched in the grubby pub tradition that drew upon Celtic folk, disillusioned punk, and even hints of alternative country and piano rock. And there's a lot to really like about his brand of abrasive yet confessional songwriting, his clever knack for a great hook, and his eclectic hodgepodge of influences that are half tongue-in-cheek and yet often completely sincere. For me, my favourite album of Turner's is easily his second Love Ire & Song, as it felt like it brought the most instrumental flavour and excellently crafted songs to the table while still maintaining that punk edge. If I can find areas where Turner can stumble, it'd be some of his material can get a little sleepy and lacking in momentum, which would probably be the biggest criticism I'd have of his third album, or that his newest albums can occasionally feel a tad too polished, especially in his vocals. But none of that was going to stop me from reviewing his newest album Positive Songs For Negative People - does it live up to its title?

video review: 'cry baby' by melanie martinez

You know, it's funny, the comments have been, 'Yeah, we didn't expect you to like this, but we wanted you to cover it anyway.' So there's that.

Next up, Frank Turner - stay tuned!

album review: 'cry baby' by melanie martinez

I've been getting requests to cover this artist since 2014.

And if I'm judging at all by the cavalcade of requests begging for me to cover Melanie Martinez, the hype has reached critical mass and it'd be questionable if I didn't cover her... even though she's never had a charting single off of any material that wasn't from The Voice. Yeah, for those of you who don't know, Melanie Martinez was once on that overexposed show and got eliminated midway through, and yet to judge by her buzz and following nowadays she's easily eclipsed many of the winners, thanks mostly to viral success off of her EP last year and her videos. And after a few listens, I got the impression she was the sort of artist I wanted to like more than I did, with the striking lyrics, shattered porcelain persona, brittle instrumentation, and creepy videos. 

But the more I listened to Melanie Martinez, the more I was convinced that the image was eclipsing the actual music, which really wasn't as interesting as the ideas behind it. I didn't think she was a bad singer - somewhere between Lana Del Rey at her most tolerable and Natalia Kills - but she wasn't great, and a lot of her instrumentation and production didn't impress me. I could go a step further and say that most of her image and style both Marina & The Diamonds and Kimbra did with better actual music, and if I were to admit I listen to j-pop or k-pop I'd say that Kyary Pamyu Pamyu is considerably weirder - and better - but the larger issue is that the whole faux-lolita to emphasize girlish creepiness just doesn't appeal to me whatsoever. And yeah, I definitely know I'm not the audience for any of this, but at the same time I wasn't buying into the hype machine.

That said, when you get down to the songwriting, outside of some minor technical issues I'll admit Martinez has ambition and big ideas, and she's got enough personality to make up for a lot. I was significantly more skeptical when I heard it was a concept album - which is certainly bold for a pop record, and even moreso for a debut album - but I figured this would at least be interesting, even if it was a trainwreck. So what did we get with Cry Baby?

video review: 'faded gloryville' by lindi ortega

Man, I wish this album was stronger - it always kind of stinks to not give stellar reviews for artists you really like, but it happens.

Next up, either Frank Turner or Melanie Martinez. Either way, both will be out in the next few days, so stay tuned!

album review: 'faded gloryville' by lindi ortega

You know, considering how much indie country I cover and especially on the Canadian side, I'm a little astounded I've never covered Lindi Ortega. Maybe it was poor timing - her last album Tin Star dropped in late 2013 where I was still very much getting a handle on my reviews - but let's make up for lost time and discuss one of the more fascinating indie country acts you'll hear. Born in Toronto, she spent most of the 2000s trying to land a deal through a selection of independently released albums and EPs before signing with Interscope through Cherrytree in 2008... and if you know anything about Cherrytree and a rising star named Lady Gaga affiliated with that label, it was perhaps the worst possible timing for her. It wasn't long before Lindi returned to the indie scene and signed with Last Gang - the label behind K-OS, Lights, and Metric - which proved to be a much better fit and gave her more flexibility to drop records.

And starting with Little Red Boots in 2011, she did just that. Blending a dusty brand of alternative country with a vintage rockabilly image and jazz-cabaret inspired vocals, Lindi had a theatricality that might have felt broad if it wasn't for the great textured production and sharp writing. She followed it with the dustier snarl and general all-around awesomeness of Cigarettes & Truckstops in 2012, which started earning her some serious critical acclaim - and for good reason, as Lindi's sultry vocals had a lived-in reality that belied the smoky glam and dark lyrics. Lana Del Rey wishes she could appropriate vintage flair this well, it's stunning. She followed it with Tin Star in 2013 working with producer Dave Cobb, and while he definitely brought his brand of vintage production that worked wonders for the atmosphere, I missed some of the smoky, noir darkness and ragged edge which was replaced with a gentler, more neotraditional sound. And frankly, with Dave Cobb handling production for her newest album Faded Gloryville, I expected more of the same. And of course it'd be good, but would it reach the greatness she hit with Cigarettes & Truckstops?

video review; 'abyss' by chelsea wolfe

Well, this record took way too long to cover. Brutal album, and a hard one to cover, but glad I did it.

Next up, probably Lindi Ortega. Then Melanie Martinez, Frank Turner, Jess Glynne, and apparently B.o.B. decided to drop an album from out of nowhere, so this could get interesting... stay tuned!

album review: 'abyss' by chelsea wolfe

It's weird, I think I'm simultaneously growing into and growing out of gothic music.

Because like most teenagers who listened to a lot of metal and who later went on to listen to Sisters Of Mercy, Bauhaus, Depeche Mode and The Cure, I've got more than a passing familiarity with the bleak, hollow-eyed chill of most gothic-flavoured art. And while I never really went through an angry white boy phase, I found the appropriation of religious and horror iconography, icy darkness, obsession with death, and provocative sexuality fascinating. 

But as I got older, a lot of the 'glamorous' side of goth culture lost its appeal to me - not entirely, but the more adolescent whinging that focused on brooding darkness for its own sake just got tired, and you should all know by now how I feel about nihilist art that can't innovate on the premise - just kind of gets boring after a while, to be honest. But at the same time, the gothic material that aimed higher, for something more primordial and existential, that added more texture to the tragic stories and added the ugliness of humanity to the mix... ah, now that's a lot more fascinating to me. It's one of the reasons why I've always liked Nick Cave, for instance.

But what about an act like Chelsea Wolfe, an LA singer-songwriter who began her career in lo-fi folk that added sludgy and brittle riffs and drone-saturated soundscapes to create a particularly bleak brand of music that showed up on the haunting The Grime and the Glow and the slightly cleaner but no less creepy and outright excellent album  Apokalypsis. Her 2013 album Pain Is Beauty cleaned things even further, added more strings and operatic instrumentation, and while the improvements in writing, melody, and Swans-esque crescendos definitely stood out and I really do like that album, it also left me wishing more of the grime and edge could return.

As such, you can bet I was looking forward to her next album Abyss, which reportedly was diving deeper into the howling doom metal-inspired nightmare that always lurked around the corner in her music - what did we get?

billboard BREAKDOWN - hot 100 - august 22, 2015 (VIDEO)

So this happened. Dear god, this episode took so long to finish...

Okay, next up it's going to get dark with Chelsea Wolfe, so stay tuned!

billboard BREAKDOWN - hot 100 - august 22, 2015

...I'm starting to think the summer lull is a complete load of shit. Because right after another fairly reasonable week, we get one of the most crazy weeks I've seen in a while. Major shifts up and down, a considerable chunk of new songs, and new top ten debuts, and even a new number one! And while some of it I could reasonably predict - the One Direction debut was no surprise - I wasn't expecting the return of the Drake show or the arrival of a slew of Disney songs! I mean, seriously, what the hell is going on?

video review: 'kill the lights' by luke bryan

Well, this was a mess. God, I didn't expect much here, but this was bad.

Next up, Billboard BREAKDOWN, so stay tuned!

album review: 'kill the lights' by luke bryan

At some point we need to ask the question how it came to this point. At some point music historians are going to look back at bro-country and its legacy and ask how on God's green earth we let this happen. And inevitably the focus will swivel to Luke Bryan, who has arguably profited the most from this trend by being the A-list talent to rode bro-country to the very top, partially through his series of spring break mixtapes and partially through hauling in so many of the songwriters who would become staples of the genre behind the scenes.

But about midway through the fourth single dropping from his 2013 album Crash My Party, I came to the realization that the music in a Luke Bryan concert is functionally irrelevant. The fans probably couldn't care less that the album production was increasingly synthetic or that Bryan himself was writing fewer and fewer songs with every release, or that his subject matter was a grabbag of country cliches rattled off with obnoxious efficiency. Because it wasn't about the individual songs or the increasingly haphazard albums: it was about the image and live show experience, Luke Bryan on stage and shaking his ass to get the girls screaming. In other words, this isn't new: what Luke Bryan did in 2013, Billy Ray Cyrus did in 1992, and history repeats itself.

And thus on some level reviewing this record is pointless. To those who have turned on bro-country, Luke Bryan is everything wrong with modern country, while to his fans he's everything right, and the latter's presence means this album is guaranteed to sell. But as somebody who has always held the belief bro-country can be done right - and someone fascinated by the slow-moving trainwreck that I predict many will consider Luke Bryan's career in a decade or so - I figured I might as well cover Kill The Lights. After all, he did discontinue his Spring Break series of mixtapes - considering he's turning forty next year, it's not a bad decision - and considering he wrote six of his new album's songs in comparison with the one he wrote on Crash My Party, I had reason to believe this might be marginally better. Was I right?

video review: 'compton: a soundtrack' by dr. dre

...and that was fun. Whew, I loved that review, really think I did a good job with it.

Next up, Luke Bryan or Chelsea Wolfe, stay tuned!

album review: 'compton: a soundtrack' by dr. dre

If it was up to me / you motherfuckers would stop comin' up to me / with you hands out looking up to me / like you want somethin' free / when my last CD was out / you weren't bumpin' me / but now that I got my own company / everybody wanna come to me / like it was some disease / but you won't get a crumb from me / 'cause I'm from the streets of...

Compton. South of downtown L.A., it's a area that has become synonymous with hip-hop past and present. DJ Quik, The Game, YG, Kendrick Lamar, and - of course - N.W.A., the rap group widely hailed with the founding of gangsta rap. Hell, their first album is called Straight Outta Compton, a rap record seminal in gangsta rap but bizarrely has not been one to have aged particularly well - I know, heresy, and it's a great record, to be sure, but it's an example of how hip-hop was able to build on a rock solid foundation to new heights. And given that hip-hop is arguably better than ever right now, having a downright stellar year with several excellent records, it's almost fitting that a biopic is being released with the same title discussing the rise and fall of N.W.A.. And inspired by the creation of that film, we got something special that I don't think any of us saw coming: Compton: A Soundtrack, by none other than Dr. Dre himself, heralded as his final album.

And I don't think I need to stress how big of a deal this is. Dr. Dre has been touting his long-awaited Detox project that it's become one of those projects nobody really expects will happen, like that J.Cole/Kendrick collaboration album or Jay Electronica actually dropping a studio album. And from reports, this isn't Detox - according to Dre, that's been shelved permanently - but instead something new, complete with an arsenal of collaborating artists from across Dre's history in the industry. But after the wave of excitement cooled - holy shit, we're getting a new Dr. Dre album after sixteen years, the doctor who brought us G-funk and one of the most forceful voices inn hip-hop is back - I did have a little trepidation. Hate to say it, but having revisited The Chronic and 2001 in preparation for this release, they're both albums that as a whole hold up more on vibes and personality than they do on wordplay beyond a few iconic songs. Plus, it's been sixteen years, and the songs he's released over the past five years haven't exactly made a new album from Dre all that appealing. Plus, Dre has always been a more interesting producer than rapper, and even though his best bars have been ghostwritten by other MCs, a full Dr. Dre project might not be as high quality as we all wanted it to be. In other words, my expectations were tempered going into this album - I prayed for this to great, but I expected the worst. Sixteen years after 2001, can Dre still deliver?

video review: 'yung rich nation' by migos

I have no idea why I covered this, but I needed something to fill time, and I did want to have my say.

Next up... hopefully that album from Dr. Dre. This'll be a big one, stay tuned!

album review: 'yung rich nation' by migos

Some of you are probably wondering why I'm covering this. Because given the hip-hop I'm known to like, this probably seems like going straight through the bottom of the barrel to the dregs. And I can already see the comments: 'dude, you don't like ignorant hip-hop, why the hell are you going after Migos?'

Well, let me clear up a few things first. For one, I honestly don't have that much of a problem with hip-hop being shallow, accessible, and fun - provided, of course, the hooks are solid, the flows are cohesive, the performers have some charisma, and there's at least a modicum of wit behind the bars. And while I'd argue that there's enough hard-hitting hip-hop that's both smart and anthemic - I can only point at Doomtree so many times, folks - I get that party music doesn't have to be that lyrical if they can make up for it elsewhere.

All of that being said, to say I had trepidation approaching this record would be understating it. Migos broke with the viral track 'Versace' in 2013, a piece of repetitive brand name porn where I kept feeling the track was shutting off every few seconds. But what Migos were able to do over the next several mixtapes was established a distinctive staccato triplet flow that quickly flooded through hip-hop. And I'll admit I wasn't really a fan - sure, it was distinctive and catchy, but it often felt jumpy and lacked a decent groove. Beyond that... well, what else do you say about Migos? Everything I heard from them was shallow, hedonistic luxury porn of the basest variety, to the point where I've seen YouTube comment sections filled with admissions that, 'yeah, this sucks and the lyrics are garbage, but I still like it anyway!'

So this review is more an experiment for me: I wanted to see if there was actually anything more beneath Migos' idiosyncratic style, so I took a deep breath and dug into their debut album off Atlantic Yung Rich Nation - what did I find?

video review: 'kill the wolf' by b. dolan

And I'm glad to have this out of my system. Tough review to write, but definitely worth it.

And next... whoo boy, the descent into the abyss... and unfortunately not the Chelsea Wolfe kind, although that's coming too. Stay tuned!

album review: 'kill the wolf' by b. dolan

Let's talk a little about poetry.

Now you'd think this would be a concept that gets discussed more frequently in hip-hop culture, but it's a lot less common than you'd think that you could describe rappers as poets with a straight face. Putting aside the technical considerations - which tend to be fluid with poetry anyway - that label, fairly or not, tends to imply a level of writing sophistication that hip-hop can occasionally fall short of, especially in the mainstream and especially nowadays with the greater focus on production over lyricism.

But if you start digging deep into the underground, you'll actually find a fair few artists who have an established background in a more literary circle, and it shouldn't surprise many people that a few of these poets I'd also identify as some of my favourite rappers, like Dessa or Sage Francis. And if you want to go even deeper, you need to talk about B. Dolan, rapper and spoken word artist from Rhode Island, affiliated with Sage Francis and who broke into the scene in 2008 with the harrowing and absolutely fascinating record The Failure. And for a hip-hop traditionalist, The Failure is far from an easy listen - the beats and production is minimal, much more focused on the words themselves, and when they are there it's abrasive and nasty as hell. And yet the bars themselves earn that harrowing production, an incendiary record targeting politics, religion, and philosophy with naked abandon that chars everyone in its path, including B. Dolan himself.

And thus it's not exactly surprising that his 2010 record Fallen House Sunken City was a slightly more conventional hip-hop record in terms of its construction - still politically charged, still with abrasive and nasty production, still with fiery and intense wordplay... but I dunno, it didn't quite have the same unbelievable moments of visceral intensity that came with songs like 'Kate' and 'Joan Of Arcadia' and 'Skycycle Blues' with the sole exception being the haunting story track of 'Marvin' about the death of Marvin Gaye. Worse still were the elements of conspiracy theory nonsense creeping into his material on tracks like 'The Reptilian Agenda' - yeah, I appreciate the shots at Cheney and Bush as much as anyone, but that Illuminati horseshit is patently ridiculous when a far more dispiriting and honest explanation is that people are lazy, stupid, overwhelmed, or incompetent, stuck in venial sins than grand conspiracies - think The Wire instead of House Of Cards.

But even beyond that, I was in the mood for some hard-edged politics, and right now, rap has all the more reason to get political, so how does Kill The Wolf turn out?

billboard BREAKDOWN - hot 100 - august 15, 2015 (VIDEO)

Yeah, I was away for a bit. Long weekend, got a haircut, shit happens.

Next up, B. Dolan, then it'll depend which leaks first. Stay tuned!

billboard BREAKDOWN - hot 100 - august 15, 2015

So I think last week was a bit of an anomaly when it comes to the summer slowdown - a glut of new tracks and very minimal changes within the chart itself. This week made more sense - a whole slew of shuffling and not many new arrivals, which reflects the pretty sparse release schedule right now, especially when it comes to mainstream album.