the top ten best hit songs of 2016 (VIDEO)

Well, this was certainly fun to make - genuinely curious if it ends up blowing up as much as it did last year, given how wonky this year was, so we'll see!

Next up, working on that big top 50 list, so stay tuned!

billboard BREAKDOWN - hot 100 - january 7, 2017

This was the sort of week I didn't expect - on the one hand it's the aftermath of J. Cole's big debut so inevitably there was going to be a pretty major course correction... but that wasn't the only thing that happened, because Christmas music came back in force to compete with a pileup of hip-hop that I don't think anyone was asking for. And yet that's not the biggest story of this week... because we have a new #1.

the top ten best hit songs of 2016

So for those of you who saw my last list, you might have caught my general assertion that 2016 was not good for the Hot 100. And here's the deeper truth: the bad songs, while there were more of them, they weren't the sort of atrocious that keeps you up at night, at least not as a whole. Despite how angry I got, I can think back to a few other years that had far more contemptible songs that would inspire a lot more rage - I think society as a whole has pretty much forgotten that in 2013 Rick Ross teamed up with Rocko and Future to release a song with a verse endorsing date rape - yeah, that was a thing.

No, the bigger problem with the year-end Hot 100 in 2016 is that there was a lot less good songs - we always get a lot of mediocrity but this was a year where the pickings were very slim. On the one hand, it makes this list pretty easy - very little to cut - but at the same time in stronger years, like 2012 or even 2015, I'm not sure how much of this list would have measured up. Many people made that same observation back in 2014 - I didn't, mostly because I genuinely found a lot to like about my list that year - but I'm not denying it for 2016, especially because the majority of songs that will make this list were originally released in 2015 and only became hits this year. If that's not the most glaring indictment on pop in 2016, I don't know what is, and what gets all the more infuriating is that the mediocrity clogging the arteries of this year kept otherwise great songs from catching on, especially in country music which despite big improvements even on the Hot 100 practically disappeared for the year end. 

But again, it had to land on that list, and it's a thin list indeed... but still, it wouldn't have made this list if I couldn't defend it being here, so let's start with our Honourable Mentions!

the top ten worst hit songs of 2016 (VIDEO)

So this happened... awful songs on a pretty horrible year-end list, but hey, it happens.

Next up, though, is the best hits of 2016 - man, looking forward to that one, so stay tuned!

video review: 'stc' by shane the crane

Nearly forgot to post this, but this was a surprisingly decent record - definitely check this out if you're interested in electronic music.

Anyway, year-end lists have started, and the worst has been posted - stay tuned for more!

the top ten worst hit songs of 2016

I'm going to try and maintain a level composure for as long as possible with this list. I know so many of you will want me to get good and furious - after all, it's the Worst Hits of 2016, this is when you're supposed to deliver the killing blow with righteous fury. This is your chance to exile the dregs to whatever just punishment they deserve, take a blowtorch to the rectum of a year that so many music critics have already branded as one of the worst in recent memory, certainly this decade. And if you look at the year-end Hot 100...

Well, here's the thing: due to my stipulation that I can only choose songs from that list, and the fact that I have my weekly show Billboard BREAKDOWN discussing all of these changes in detail, I've been acutely aware of this disaster for months now - I've seen it happen in slow motion. The calls of '2016 is the worst' picked up in the summer and exploded this fall - not helped by cultural forces beyond the charts themselves - but it becomes disheartening when you've been coping with it week after week and you can explain in excruciating detail why this happened. What it reminds me of most are the charts in the very early 90s - replacing Paula Abdul ripoffs for Rihanna ripoffs, an embrace of tepid tropical or adult contemporary sounds in pop that stank of non-effort, and when there were new acts on the horizon they looked to have no sustainable future in sight - or at the very least you hoped they didn't. Hell, even country in the early 90s was on the upswing thanks to the neotraditional sound like the Americana revival today, but whereas we could look to shifting trends in hip-hop and rock to revitalize that decade going forward... well, in rap we somehow managed to get the dregs of an otherwise promising year and the most 'rock' getting airplay was twenty one pilots and X Ambassadors. As I said, every critic has already told you this year was dreck, now it's time to go deeper and count out the worst of the worst. Fair warning, this is going to get ugly, so let's start with Dishonourable Mentions!

album review: 'STC' by shane the crane

It's almost poetic that we end 2016 like this - not with a huge smash hit album, not with a critically beloved indie darling... but an album from one of you guys, one of my Patrons. I sincerely hope he sticks around now that his album has inched its way up the list organically to land in front of me, especially considering the gloves have never been on - I'm treating this with the same critical I treat everything else, as I've clearly warned many times.

So, Shane The Crane is an electronic music producer that you'd mostly likely find on Soundcloud, but unlike many of those guys he appears to have the backing of a record label Beatdek Records, and from what I can tell this doesn't appear to be a vanity label, it actually has a few artists behind it. From a lot of the blurbs it looked to be skirting the edges of modern popular trends in electronic music with a slightly weirder twist on top - so okay, I'm kind of on board, this could be interesting, so I took a look at his debut project STC - how is it?

video review: 'blood bitch' by jenny hval

Man, this was a weird record... and to the point where I wish I liked it more, to be honest. Ugh, frustrating, frustrating.

Anyway, one more record and then year-end lists, stay tuned!

album review: 'blood bitch' by jenny hval

It's often considered one of the great contradictions of American popular culture that for as much it worships at the altar of violence and the military industrial complex - and Canada isn't that far removed, I'm not kidding myself here - everyone tends to get skittish around sexuality. You can have plenty of gore in your movie in your movies and still walk away with the PG-13, but show exposed breasts and you can expect the R, to say nothing of if you want to show a penis or vagina. Kind of amusing how parts of the entertainment industry gives a free pass to plenty of penis extensions that deliver death yet get antsy when confronted with the real thing.

Now music is a little different, mostly because you're not dealing with the image outside of the album art... but not that different. Let's get real, with rare exception the majority of modern music is a lot more comfortable talking about male sexuality than female, and even then it's often masked in innuendos or played as a tease. To actively dig into the fleshy, messy side of things, peel back the sensuality and bravado to get to something more primal but no less real, that's explored far, far less. And that's no surprise: for as much as some artists threw open the doors to openly embrace sexuality in their music, it's usually paired with a desire to make it sound accessible to an audience who isn't as comfortable, entice rather than get into the explicit details.

And then there's Jenny Hval - Norwegian singer-songwriter and experimental musician, while much of her music has been characterized by droning, oddly structured soundscapes full of weird experimental shifts - to say nothing of an odd pop sensibility that keeps creeping through - what's always caught my ear are the lyrics. And the best way to describe them is something akin to the inverted metaphor of the film Shortbus - usage of plainly sexual acts and language in order to say something more, rather than the other way around saying or doing something to imply sex. Of course, her themes and abstract writing have gone further than sex, but at the end of the day her music approaches the flesh-driven reality of sex with the sort of unrestrained frankness and language that for certain can startle and shock even the most sexually-comfortable and well-adjusted person. As such, her music for me has always required a concerted effort to fully contextualize and understand - one of the reasons this review is so late - but I have to say I was really looking forward to digging into Blood Bitch. Blending elements of 70s exploitation films, timetravelling and genderbending vampire iconography, and an acute focus on menstrual blood - seriously - into an experimental pop framework partially inspired by the drones of Norwegian black metal and produced by noise musician Lasse Marhaug, this was going to be the sort of trip that I expected to be challenging, but hopefully hugely rewarding. Was I right?

video review: 'do what thou wilt.' by ab-soul

So this was a strange review. A lot of fun to make, and a surprisingly quick one to put together, but strange all the same. Huh.

Anyway, probably only two reviews left - at best - as I try to put together my year-end lists - stay tuned!

album review: 'do what thou wilt.' by ab-soul

I feel like I should like Ab-Soul so much more than I do.

Okay, that's a misleading statement, because for the most part I do like this guy. His breakthrough project Control System was a great record, with the sort of creativity and ideas that made for thought-provoking listens and could compensate for wordplay that either slid towards corniness or revealed more flaws than can really be excused. I had a lot of hope that on future projects he'd be able to refine his ideas and sound into something that was sharper and harder and more cohesive...

And then he released These Days. I'll be blunt, I was probably too easy on that record when I reviewed it, trying to search for deeper themes or satirical elements that didn't coalesce, and when the hooks just weren't there to match the production or slew of guest verses that were really all over the place, I found myself looking for reasons to like it and coming up short. And ever since then, I've heard plenty of guest verses from him, from collaborations with The Game to Jay Rock to Danny Brown and while so many have praised him, I've been consistently underwhelmed. I don't what to tell you, he's slipped towards corniness more often I'd really excuse and he's still not a consistently strong wordsmith in terms of constructing his bars. Hell, that's one of the reasons why I'm not all that surprised that it took so long for my Patreon voters to push this to the top of the schedule, maybe some of that spark had died out in comparison to his peers who had been more consistent or who had pushed out more interesting projects. But there was a part of me that still had real hope Ab-Soul could pull this off, although his list of guest stars was certainly different than I was expecting. I was more surprised than I probably should be that there was no Kendrick verse - he's consistently shown up Ab-Soul every time he's been on one of his records - but outside of ScHoolboy Q, Punch, and SZA, Ab-Soul seemed to be pulling from outside of TDE for this. I expected Mac Miller, they've worked together before, but Rapsody, Bas from Dreamville, Da$h from the A$AP Mob, and even Kokane, an oldschool veteran who started his career with Eazy-E? So yeah, I was curious - what did we get from Do What Thou Wilt.?

billboard BREAKDOWN - hot 100 - december 31, 2016 (VIDEO)

So this was torture, to both write and edit. My god, the more I went through this J. Cole album the more I dislike it, fucking CHRIST.

Anyway, now onto something a little weirder, stay tuned!

billboard BREAKDOWN - hot 100 - december 31, 2016

So do you want to know what can lead to real weirdness on the Hot 100? Not just one big debut - it'll have a ripple effect, but if you want to cause absolute havoc, drop two, and keep them within a few weeks of each other. And you might call me crazy for saying 'well, that rarely ever happens'... and this is the week where J. Cole followed in The Weeknd's wake with every single songs from 4 Your Eyez Only hitting the Hot 100 - I swear, why do I even bother to review the albums when this nonsense happens? This was the equivalent of a knockout punch for a lot of music, leading to what I think might be the most number of losses I've ever seen on the Hot 100 and sixteen new songs - because no, the stream of new arrivals wasn't really stopping either. And note that when I say impact, I'm not saying any of this was good - folks who saw that J. Cole review remember I wasn't fond of it... but then again, it's also featuring songs from The Voice and Post Malone, so we'll see what we get in contrast?

video review: 'remember us to life' by regina spektor

Well, this was a pleasant surprise - may have overshared a bit here, but eh, it happens.

Next up, though... all of the J. Cole wound up on the Hot 100, which is just fantastic... after that is probably Ab-Soul, so stay tuned!

album review: 'remember us to life' by regina spektor

So here's the unfortunate truth of being a critic and a human being: like it or not, sometimes it's not just the art that overrules your critical faculties, but circumstances and memories that are linked to that art. It might not just be the sound or a particular turn of phrase that sparks an emotion, it's the memories and people associated with that sound or lyric that renders fragile objectivity all the more precarious.

Case in point, about four years ago I was dating a girl who was very fond of Regina Spektor and encouraged me to check out her album What We Saw From The Cheap Seats. And while I had something of a mixed opinion on that record as a whole, when she and I broke up later that year it became a bit difficult to go back to Regina Spektor without pulling up old memories - not all bad or good memories, mind you, but fragments that place her music in an awkward context. And it's not helped by my frustrating relationship with Spektor's peculiar brand of anti-folk itself: earnest, frequently clever with some striking melodies, but brimming at the edges with an off-kilter quirk that added personality but could occasionally undercut the dramatic tension some otherwise potent songs. I've said it in the past that I've got a very limited tolerance for 'twee', and while it didn't compromise her early 2000s work up to 2004's Soviet Kitsch, after that it got dicier. And what's frustrating is that it didn't happen all at once or consistently. Begin To Hope actually had some emotionally poignant moments - especially the closer track - but Far started to push it for me, especially if you started getting into the lyrics. And that awkward dichotomy between heartfelt power and utterly garish quirk manifested most on What We Saw From The Cheap Seats - on the one hand you get powerhouse tracks like 'All The Rowboats', but on the other hand... well, let's just say besides that song I haven't had much of an impulse to go back to it.

But hey, maybe this new record - which was supposedly bigger and a little darker, it might hit a more satisfying point for me, and I've always thought Regina Spektor is an interesting songwriter, if not always a good one - she's got a penchant for random noises that drives me off the way - but whatever, how is Remember Us To Life?

video review: 'WORRY.' by jeff rosenstock

Yes, I know I'm late to the party with this one, but my god, I'm so happy I got to it regardless, so smart and well-written, I just wish I dug the hardcore parts more.

Eh, whatever, and now following it with another great record... well, stay tuned!

album review: 'WORRY.' by jeff rosenstock

So I've mentioned a number of times throughout the three years I've done this series that I'm not the biggest fan of nihilistic artwork - not because I find the themes morally repugnant so much as they just get tedious after a while. You can wallow in your own depravity and debauched hedonism all you want, but at least switch it up once and a while or try to say something interesting about your condition - looking at you, Future.

But that's not to say music with dark or depressing themes doesn't work for me, especially if the writing or instrumentation twists in interesting directions. Enter Jeff Rosenstock, a name you're probably most familiar with from the New York punk and ska scene, namely as the frontman of Arrogant Sons of Bitches, the DIY ska-punk collective Bomb The Music Industry!, and the indie rock group Kudrow. But where I started to take more notice was his solo work, and when I say that I mean that my notice was driven by a bunch of music critics I otherwise respect telling me insistently that I need to hear this guy. And sure enough, they were right, because Jeff Rosenstock's music was right up my alley. A punk smart enough to temper his anthems in the sort of overwritten but self-deprecating material to temper the bite, with a frankly astonishing level of detail to paint the pictures, both instrumentally and lyrically, his music reminded me a bit of Frank Turner in a weird way in the maturity of their punk mindset and a commitment to ridiculously catchy music. But I think Rosenstock squeezed more instrumental styles and tones into his first two solo records, aptly titled I Look Like Shit and We Cool?, grabbing from ska and garage rock and lo-fi and even synthpunk to form a raucous, utterly unpredictable sound that really stuck with me, I really dug those records. As such, while again it has been a long time coming, I really wanted to check out his newest release this year WORRY. - did it hold up to the hype?

video review: '4 your eyez only' by j. cole

You know, for as much effort as this review was to write, it couldn't have been for a record that I've forgotten so quickly... stunning, really.

Anyway, next up is something much more memorable, so stay tuned!

album review: '4 your eyez only' by j cole

I think it's time that some of the illusions should be broken surrounding J. Cole.

And let me make this clear, this was a long time coming, but the release of 'False Prophets' and the pretty blatant diss directed at Kanye West - well, as blatant as not having the courage to put names on wax is these days - pretty much cemented it in my mind. In that song, J. Cole expressed his disappointment that Kanye, one of his idols, was falling from grace and his art was suffering for it, and that his "friend" Wale was stewing in his own bitterness and depression given the mixed critical response to his work. So let's put aside that he just put one of his own 'friends' on blast about his depression, he also chose to release this song right as Kanye has been going through what appears to be a full-on mental breakdown, and not just attack his character, but his art. And look, if J. Cole is disappointed with Kanye, he can join the goddamn club - I've been frustrated with his work since I think 2009 - but to me this stank of some opportunistic sucker shit, taking cheap shots at artists who aren't a position to directly fire back as a way to get hype for an upcoming album that doesn't even feature that song! But after all, it's not like J. Cole is lying, right? He plainly cares, this is his way of showing his concern - after all, he's such a nice guy.

And make no mistake, I'm definitely using the 'nice guy' qualifier as a pejorative here, because for a while now it has seemed to ring true for J. Cole - a guy who on the surface might seem to have sincere intentions but when you rip away the veneer he's just like so many of the A-listers that he derides. And while to some 'False Prophets' was the first clue, this has been something I've noticed since at least 2014 Forest Hills Drive, especially in his songs about women. Hell, you could probably trace it back further, but what I've always found galling is the framing: he doesn't frame his disses as such, but just 'disappointment' - the actual content rarely matches how it is presented, and that's where things can get ugly. And if that disingenuous presentation was the only problem that'd be one thing, but when you combine it with content and bars that are nowhere near as deep or complex as J. Cole plainly thinks they are, it tends to make for records that I don't like nearly as much as so many. But whatever, now that I've probably alienated a fair chunk of you, how is that new album for which he was building this hype, 4 Your Eyez Only?

video review: 'cheryl desere'e' by cheryl desere'e

Man, it took way too long to cover this record, but I'm happy I did, another fascinating example of what country had to offer in a banner year, fascinating record.

Next up... okay fine, J. Cole next, stay tuned!