album review: 'views' by drake

I don't know if I'm the right person to do this review.

Now I can imagine that statement is a little surprising - I'm a music critic, I've covered Drake's last two records - not counting the one he did with Future that I effectively reviewed over several episodes of Billboard BREAKDOWN - and at this moment I live in downtown Toronto and am a Raptors fan! At this point, I could see the argument that I'd be the perfect choice to cover Drake, given the overexposure...

But that might be part of the problem. I've covered so many Drake songs in such intricate detail that I was oversaturated eight months ago and heartily sick the guy in six - that would happen if he was a great artist or not. And the more Drake projects I hear, the less I like the guy. Yeah, he's a emotive singer, he's got an ear for some atmospheric production that I've always liked, he can come up with some good hooks and the occasional clever line... but for everything I like about Drake it's incredibly easy to find problems. Sure, he's an emotive performer but he traffics in melodrama that doesn't have the good sense to go over the top, and over the past year he leaned further away from R&B and more towards hip-hop. And let me stress that's not really a good thing - the biggest defense of Drake's writing is that he's very good saying a lot with very little, but when you hear so much similar subject matter the little differences stop standing out - and considering how monochromatic his production can be, that's not a good sign. And it gets particularly exasperating when Drake hops on southern or triplet flows that don't flatter him or help him stand out. As for content, Drake tends to fall into two molds: a swaggering arrogance that used to be smarter and more self-aware; and his more emotive side, which can tread right up to the line of bad taste. And yet as the years have progressed, the self-awareness and commentary that used to temper Drake's best material has fallen away, which has cranked up the obnoxiousness and has made his ego feel a lot less earned. Because let's be brutally honest: Drake didn't so much win the Meek Mill beef as Meek Mill lost it in spectacular fashion, and if faced with real competition - and if untitled unmastered. is any indication it'll probably be Kendrick Lamar - I don't believe for a second Drake has a chance against an MC out for blood.

So with all on the table, I can't even pretend to be excited that Views was finally getting released, likely as the last straw to free Drake from his contract with Young Money. Because even though 'Hotline Bling' had its moments, 'One Dance' and 'Pop Style' are both mediocre at best, and that's really a bad sign if they're your lead-off singles. And considering this record was reportedly around twenty tracks - especially considering If You're Reading This It's Too Late went long - I did not expect this to be remotely good. That said, I did use to be a fan of Drake, and hell, if Beyonce can surprise me the way she did with Lemonade, there's not reason that Drake can't do something similar - so what views did we get from the 6?

video review: 'the hope six demolition project' by pj harvey

Considering how much work went into actually going through the discography... actually, that was probably the most rewarding part of this whole exercise, because I really got very little out of this. Eh, it happens.

And on that non-promising note, next up is Drake - stay tuned!

album review: 'the hope six demolition project' by pj harvey

It's gotten to the point of cliche that I open reviews from long-respected, critically acclaimed artists I've never covered before with the assertion that it's hard to talk about legends. And yet the more I've thought about this assertion, the less it makes any sense: presuming, of course, that I'm respectful and do my homework, it shouldn't be any more or less difficult to talk about these acts. 

And on some level, I wouldn't call relistening through a discography work, especially when it's as good as PJ Harvey's is. Most well-known for a series of absolutely killer albums in the 90s and affiliated with Nick Cave - there's a lot of overlap in touring personnel and producers - English singer-songwriter PJ Harvey has always been one of those artists for me where the critically acclaimed discography has been a little daunting to tackle in full. But over the course of the past few weeks I've listened through every single project and found a ton to like: a voice that can span delicate coos to full-throated howls; compositions that twist melodies and grooves in intricate ways that still manage to be catchy as hell; production that preserves a ton of brittle, razor-edged texture that adds to the intimacy and intensifies the rawness; and songwriting that tends to be tricky to decode, but often reveals vivid storytelling with an emotive core that may seem abstract at points but no less powerful. 

Now in terms of her recorded output, many would agree that her alternative rock side in the early-to-mid 90s was her best work - with the bid for mainstream appeal on Stories From The City, Stories from the Sea signalling the end. The next several years would have her dipping back into explosive rawness on Uh Huh Her in 2004 and a stab at gothic pianos on White Chalk in 2007, but where things really kicked back into gear came in 2011 with Let England Shake, pulling in a broader musical palette of autoharp, zither, horns, and her highest vocal register yet to juxtapose against some shocking and graphic lyrics delving into the violence of war. It's a genuinely unsettling record - especially considering how damn catchy it was - and it reflected one of the first times PJ Harvey had directly delved into political material - and it wouldn't be the last. In 2015 she recorded her newest record live through one way glass in an exhibit open to the public, and with the title of The Hope Six Demolition Project, it was clear she was turning her target to the modern era and to the United States at the very least. So, how did that turn out?

billboard BREAKDOWN - hot 100 - may 7, 2016 (VIDEO)

Well, here's a brief oasis before everything goes bonkers next week. Strap in, folks, it's going to get wild.

Next up, I think I'm finally ready to talk about PJ Harvey, and then right after is Drake (of course), so stay tuned!

billboard BREAKDOWN - hot 100 - may 7, 2016

So, you all wanted turbulence? You definitely got it this week - and yes, while too much of it was triggered by the far-too-soon and tragic death of Prince, a fair amount of it was driven by the past weeks of instability. And with the new Beyonce release and Drake's new album on the way, you all better buckle up, because I don't see the Hot 100 quieting for a good month, at least.

video review: 'lemonade' by beyoncé

Well, this happened. Trust me, I'm no Beyoncé fan, but I'm not going to deny quality when it shows up. Goddamn fantastic record.

Next up... Billboard BREAKDOWN, we'll see where we go from there - stay tuned!

album review: 'lemonade' by beyoncé

There's no easy way to talk about Beyoncé, especially nowadays when her status as a 'icon' has easily become bigger than just the music. And while you could tag some of it as the outgrowth of celebrity culture to where it becomes hyper-focused online, I can't argue that Beyoncé has defied expectations when it comes to how art and music is consumed in the modern age, most of which culminated with the surprise release of her self-titled record in 2013 after most critics had already assembled their lists of albums for the year. And the fact that it sold so damn well is all the more indicative that Beyoncé cannot be stopped at this point...

And I just wished I liked more of the music. Again, I will not deny that Beyoncé  has talent, but more often than not I've found her an incredibly frustrating performer and songwriter. I'll admit right out of the gate that I was never a Destiny's Child fan, and while Beyoncé has had a fair few songs I liked when she inevitably went solo, I can easily assemble a longer list of Beyoncé songs I just can't stand. And the issues are all over the place: sometimes Beyoncé has lacked the finesse or subtlety as a singer, though she has shown a lot of improvement here; sometimes the writing has fallen short or not delivered the nuance she needs; many times her guest stars have let her down. But more than ever what I've found frustrating about many Beyoncé tracks is the instrumentation: you'd think that for as many people work on Beyoncé songs, more of them would have a recognizable melody or tune! That was the biggest factor holding me back from liking her 2013 release when I covered it, along with the fact that it ran long and had much better intentions than execution.

So when Beyoncé surprise-released her newest record Lemonade through TIDAL and accompanied with an hour-long short film on HBO - you know, two services that just drip with populist appeal - look, I wasn't even surprised at this point. I was intrigued, though, because digging through the liner notes there were a fair few surprises: of course Kendrick Lamar and The Weeknd were bound to show up, but Jack White and James Blake? Production and cowriting credits from Ezra Koenig and Josh Tillman? Interpolations of Animal Collective and Led Zeppelin? That, combined with a much tighter running time gave me a feeling that maybe the music and her costars won't let her down this time, so how's Lemonade?

video review: 'always strive and prosper' by a$ap ferg

Well, this happened. Not an easy album to review, but certainly an interesting one, that's for sure.

Up next, Beyonce - stay tuned!

album review: 'always strive and prosper' by a$ap ferg

Okay, way back when I was first starting this show in 2013, I took a crack at discussing A$AP Ferg's debut Trap Lord - and you don't have to tell me the review is pretty rough in retrospect. Putting aside that it was done before I had a proper camera, it was also a record that screamed style and flow over substance, which to me at the time didn't feel particularly cohesive against gothic-tinged trap production that initially felt too dark to fit with the content. Sure, I could appreciate the tracks where A$AP Ferg was indeed spitting, and his collaboration 'Lord' with most of Bone-Thugz-N-Harmony remains a highlight to this day, but for the most part it was a record that that was trying for a certain opulence and grandeur that I wasn't entirely convinced it could pull off, especially in the lyrics.

Granted, that was in 2013 - since then, we've seen so much hip-hop tilt towards material that's even more gothic and opulent, and at least A$AP Ferg could maintain a consistent flow on his own and not slather his vocals in autotune to drive the melody. And given that I did like his lead-off single 'New Level' with Future, I figured I'd give him another chance with Always Strive and Prosper. The one significant reservation I had was the larger-than-ever list of guest stars - A$AP Ferg can have an odd tendency to mimic the flows of his guest stars for better or worse, and given that I have pretty much zero expectations in finding a lyrical identity, that doesn't really help him stand out. But again, Future really was the worst part of 'New Level', and with a more impressive list of producers, I had reason to be it'd come together with at least some flair and style - was I right?

video review: 'human performance' by parquet courts

This review was a lot of fun - not just because of the album, but because it was a tough nut to really explore, even if I didn't all the way love it. Definitely expect some of the songs will grow on me more throughout the year, though.

Next up, A$AP Ferg - stay tuned!

album review: 'human performance' by parquet courts

So I'll admit right out of the gate that I was a little tentative to cover this record. I think I've gone on record about how most lo-fi garage rock doesn't really excite me unless the hooks are stellar or they're doing something incredibly bizarre - see the collected output of Ty Segall - but that's not saying I dislike the genre, more a factor that if you've heard a lot of this brand of indie rock it can start to blur together a bit. 

Well, okay, that's not fair, and I'll admit that Parquet Courts does stand out a bit. Their wordy brand of art punk first materialized around the turn of the decade and immediately racked up critical acclaim for albums like Light Up Gold and Sunbathing Animal. And yeah, I liked those records: the guitar lines were sticky, there was some groove there, and you could tell that the lyrics had a certain cleverness that I could definitely respect in isolated chunks, often taking broad shots at Internet culture and finding something to respect... but more often than not, I got the feeling the band hadn't quite reached the level of ambition or instrumental heft groups like Ought or fka Viet Cong had. Good for sure, but a shade away from real greatness for me.

Granted, I get the feeling Parquet Courts were looking to change things up too, because after dropping two records in 2014 - the latter Content Nausea being released by only half the band under a slightly different name with a much rougher, more punk tone - and an EP that confounded critics, they looked to follow it up after a few years of touring with this release, which promised to be a mellower, yet more eclectic new record. So okay, I'm good with Parquet Courts pushing themselves, so what did we get with Human Performance?

billboard BREAKDOWN - hot 100 - april 30, 2016 (VIDEO)

Pretty decent week, but a bit of a weird one too - get the feeling it's right before the storm too.

Next up, Parquet Courts and A$AP Ferg, so stay tuned!

video review: 'love streams' by tim hecker

Well, this was a fascinating and incredibly difficult album to untangle. I still think it's worth listens even if its not my thing, but again, not my thing.

Next up... hmm, probably Parquet Courts, so stay tuned!

billboard BREAKDOWN - hot 100 - april 30, 2016

Okay, so normally after a week with a ton of debuts, the following week tends to be a real pain, as everything resets to compensate. And given the massive falloff from Kanye's Life Of Pablo - which yes, we'll be talking about here - you'd think that it'd mean this week was incredibly busy. But while it was turbulent across the board, it was so in a way that we had enough returning entries to keep the new arrival list relatively small, and since I no longer cover returning entries in as extensive detail as I did last year, this might actually mean I'll get a breather, at least before the top ten collapses in upon itself.

album review: 'love streams' by tim hecker

I've talked before at length how I'm still working to explore electronic music, still trying to find the clearest inroad to a genre that can frequently be beautiful and powerful and experimental, but often can be just as hard to talk about or fully dissect. And today, it's time we talk about one of the subsets of electronic music that remains some of the hardest to decode and explain: ambient drone and noise. The sort of sounds that will nearly all but the most dedicated of listeners branding it as background noise or completely empty to just walk away, it's long been a genre to which I've touched in passing but have had a certain aversion to it. I can definitely appreciate ambient music and atmosphere, but stretched across glitched out soundscapes with only the slightest of change-ups in melody or the sparsest of beats... yeah, most of the time it's just not for me. I like groove and composition more than textured sonic tapestries that often rely on the thinnest of context of define what it might be trying to say. 

As such, delving into the extensive back catalog of Canadian electronic artist Tim Hecker has been quite the experience for me, most notably because it probably came the closest to create soundscapes that were enticing enough to keep me coming back for more. The missed connections and fragmented transmissions of Radio Amor, the darker, guitar-feedback-soaked Mirages that started touching into black metal textures, the more soothing but melancholic Harmony In Ultraviolet that grew all the more expansive, the more dense construction of An Imaginary Country, they all reflected so much more than what the first few listens would imply. This would reach a peak on Hecker's 2011 album Ravedeath 1972, a titantic, borderline apocalyptic record that I would have no qualms saying is legitimately great, and while I didn't quite like his 2013 record Virgins as much - I missed the thicker atmosphere, even if the greater, more intimate focus on melody with much cleaner textures made it a potent listen in and of itself - I think I understood enough to delve into his newest record Love Streams, which had been garnering something of a mixed critical response. So as a relative newcomer to this sort of music, how did it click?

video review: 'a sailor's guide to earth' by sturgill simpson

Man, this record is incredible. It creeps up on you for sure, definitely a grower, but I can see this sticking with me a lot this year, if only because of how defiantly unique and potent it is. Definitely great.

Next up, Tim Hecker, coming up soon!

album review: 'a sailor's guide to earth' by sturgill simpson

I want to start this review by clarifying something important: I've talked a lot in the past about genre and how it can play a role in how artists are marketed and sold, but at the end of the day I really don't care all that much which genre an artist chooses. If an artist wants to take a pivot into uncharted territory for them, I might be skeptical of the choice, but provided they pull it off well, I'm generally pretty accepting of it.

And thus when Sturgill Simpson made his incredible sophomore album Metamodern Sounds In Country Music, I had no problems at all that he was blending in elements of psychedelic rock - after all, he did it well, one of the many reasons that record is one of my favourites of 2014. But what started to irk me was the aftermath of it all, and one you can expect when an artist starts getting crossover attention from the hipster crowd. And by now, anyone who has followed Sturgill had heard the comments: 'oh, I don't like country music, but I like Sturgill Simpson', as if they'd like to pretend that country was never a factor because they'd never want to be associated with it. Seriously, those pretentious twits can blow me, mostly because country is just as viable of an artform as any other genre and denying the role Sturgill has played does a disservice to everyone, especially his producer on that record Dave Cobb, who recently released with Southern Family one of the best country records and albums period that I've heard in the past few years.

That said, I had heard that Sturgill Simpson was going to be taking his country influences even further afoot with his upcoming record A Sailor's Guide To Earth, beyond psychedelia and into more soul tones, including a full horns section, and combined with Sturgill not working with Dave Cobb and producing the entire record himself, I was a little concerned. Sure, it was bound to be a very good, probably great record, but this sort of experimentation was pushing into uncharted territory, and if the fundamentals are compromised, this could get messy. But look, the man has incredible talent and I had hope that A Sailor's Guide To Earth might stick the landing: did Sturgill pull it off?

video review: 'lead poison' by elzhi

Finally glad I got a chance to cover this, and damn, it was so good. Next up... well, there's Tim Hecker, but that Sturgill Simpson and Parquet Courts records is tempting too... stay tuned!

album review: 'lead poison' by elzhi

I've talked a bit before about regionalism in hip-hop, how certain areas cultivate certain sounds and styles of rap. New York hip-hop tends to be more opulent and proud, the West Coast trends towards more laid-back grooves and g-funk, the South is known for trap and hard, trunk-knocking bangers, you get the picture.

And yet if we cast our eyes to the city of Detroit, only one word springs to my mind: bars. Formerly the engine of the United States but now fallen into disrepair and poverty, to me Detroit has always been characterized by hard-edged MCs fighting their way out and building independence with sheer, mind-bending wordplay. Granted, I'll wholeheartedly admit a lot of this impression was probably crafted by an early liking for Eminem and seeing 8 Mile one too many times, but when you consider rappers like Eminem and Royce da 5'9'' or even more out there MCs like Danny Brown, one of the reasons they remain interesting rappers is how they construct their wordplay. And hell, even though I don't like Big Sean I'll give him credit for at least trying to hold up the legacy when he talks about his hometown.

And continuing in that tradition is Elzhi, former member of Slum Village which was most well-known as J.Dilla's group, though the two were not in the the group at the same time. For the longest time he was one of those MCs I had just not had the time to dig into - but I'm definitely glad I found time to check out his 2008 album The Preface, because it is just the type of hip-hop I really like. Great production courtesy of Black Milk, fantastic wordplay, and Elzhi delivering not just great bars but great stories, showing a ton of real promise and poise. Along with his mixtapes he also released a tribute to Nas' Illmatic in 2011, which is also pretty damn excellent... but let's get real, it's been nearly five years since we've heard an Elzhi project. This one was funded through Kickstarter back in 2013, but after extended delays we finally have it. Was it worth the wait?

video review: 'more issues than vogue' by k. michelle

I don't know why I'm always surprised that a K. Michelle record is actually good, but this is pretty damn solid, definitely liked it. Except 'Rich' - goddamn, that song is terrible.

Next up, think I'm ready for Elzhi, so stay tuned!