album review: 'meaning of life' by kelly clarkson

Okay, let's try this again.

For those of you who don't know, when I covered Piece By Piece by Kelly Clarkson in 2015 I was, to put it mildly, underwhelmed. It wasn't that it was precisely bad, but it certainly was forgettable and sloppily produced and often poorly written to boot, the sort of record that really didn't add anything new or interesting to the pop culture conversation. It really only was redeemed by the fact that Clarkson remains a great singer to this day, but it's not like the production or compositions flattered her as much as they could, and the second you compare this to what she was doing in the mid-2000s... well, one of the phrases I used was 'sell-out', but in truth any sort of greater unique artistic ideal went out the window after My December underperformed ten years ago.

And you know, I got a lot of crap for those statements. I stand by them, but I also think something was missed: namely, when Kelly Clarkson gets good material she's a tremendous pop singer. I put her in a similar category to Demi Lovato in that they're both singers with huge voices that sound better in rock than R&B or soul or gospel, but if the pop song is great I'll take it, as I did when her cover of 'It's Quiet Uptown' from The Hamilton Mixtape made my year-end list of the best songs of 2016! But I was genuinely worried about Meaning Of Life, not just because she had changed labels but also because if 'Love So Soft' was representative of the artistic pivot she was trying, it was not one that remotely flattered her voice! But my Patrons wanted me to review this, and while there were a few returning producers overall she looked like she had a new team - even despite having only four writing credits on a fourteen song album, but whatever. So how is Meaning Of Life?

video review: 'pacific daydream' by weezer

Well, this was disappointing... eh, it happens.

And on the topic of disappointments... well, stay tuned!

album review: 'pacific daydream' by weezer

So as many of you probably know, I didn't like the last Weezer record, another self-titled release otherwise known as the 'white album'. To me I found the lyrical arc undercooked and occasionally very questionable, the delivery underwhelming, and the production to be all over the place, not helped by bringing in producer Jake Sinclair who didn't seem to grasp the melodic subtleties in the groove that have always been Weezer's greatest strength on records like the Blue Album and Pinkerton and Everything Will Be All Right In The End. But I'll also be the first to admit that I was in the minority with that opinion - a lot of folks found something in the white album they liked and for diehard Weezer fans... hey, given what they've gone through over the past twenty years, all the power to them.

So it got me worried when I started hearing the buzz for Pacific Daydream - not just that it had resulted in the shelving of darker material for the rumoured 'black album', but also that it was a more sedate, pop-leaning record, which is about the last direction I think most Weezer fans want them to go. And to get there, they changed producers again to bring in J.R. Rotem and mega-producer Butch Walker, who actually has worked with Weezer before - on Raditude. And when it didn't look like even the critics were on-board this time, I was genuinely worried - and look, I'll never say I'm the biggest Weezer fan, but Rivers Cuomo knows his way around a really good hook. But considering the last time I heard Rivers Cuomo collaborate with a pop band in 2017 it was AJR's The Click, I had very little faith that his pop instincts right now. But okay, what did I find with Pacific Daydream?

billboard BREAKDOWN - hot 100 - november 11, 2017 (VIDEO)

Well, this was a bizarre week - but I'm mostly pleased with it, to be honest. But next up... whoo boy, none of this looks good, so stay tuned?

billboard BREAKDOWN - hot 100 - november 11, 2017

So I've been predicting for some time that the Hot 100 would be hit with a pretty major shift that would knock things loose, really shake up the status quo. And yet somehow I think we got the worst of both worlds with this, with the top ten mostly staying static, the majority of our new arrivals hitting in the bottom half of the Hot 100... and it's all coming from a collaboration between Future and Young Thug. Yes, over half the songs here are from Super Slimey, and whatever else we got... well, we'll get to it.

video review: 'trial by fire' by yelawolf

So the most common comment I've been seeing is that people forgot this album was coming out... not a good sign for album promotion, and a damn shame too - the album is great, and with 'Sabrina' is at least worth the cost of admission.

Eh, whatever - next up is Weezer, but before then we've got Billboard BREAKDOWN, so stay tuned!

album review: 'trial by fire' by yelawolf

I'm not sure how to talk about Yelawolf these days. I'd like to open up this review with a discussion how after the underwhelming Radioactive he pivoted into a country rap vein for his sophomore project Love Story in 2015, an album I still think is underrated to this day. Seriously, even though that record definitely has its flaws - Yelawolf was still ironing out kinks in the genre fusion and the record probably ran too long for its own good - two songs from that album made my year-end list that year, and while both a considerable percentage of country and hip-hop fans seems utterly allergic to the concept, speaking as somebody who knows both genres and who has heard entirely too many bro-country acts try hip-hop flows, Yelawolf was ahead of the curve. He was a good rapper - you don't get signed to Shady if you're not - he had good taste in country, and he was willing to write frankly about the common topics that only underground hip-hop and indie country would touch - poverty, depression, alcoholism, and a backwoods that felt far more textured and realistic than any bro-country pandering.

And if we could just proceed to the new album from there, I'd be thrilled... but let's be blunt, Yelawolf has had a bad couple of years since Love Story. He got considerable - and justified - backlash for his Confederate flag comments which led a lot of hip-hop to want nothing to do with him, his friend Shawty Fatt was killed in a car accident, and when you factor in the pressures to exceed Love Story's success, you can see why it led to a breakdown on tour last year, which led to dates being cancelled and caused Trial By Fire to be pushed back. And yet he pulled it together - a full-hour long release with guest appearances from both hip-hop and country that he produced entirely himself, and enough drama to surely inform the subject matter. So, what did I find in this Trial By Fire?

video review: 'skin & earth' by lights

Yes, I know this is very much late, but honestly, I didn't have much to say on this... outside of 'Savage', kind of an underwhelming record.

But now onto something more recent... whoo boy, this'll be fun, stay tuned!

album review: 'skin & earth' by lights

So I'll be the first to admit I've been really hard on Lights in the past, the Canadian indie synthpop artist who has fluttered around the edges of the mainstream for the past few years now, especially in Canada. And for me it can feel awkward because I keep getting the feeling that I should like her work more than I do. The Listening was a slice of bubbly, exuberant electro-pop, Siberia was moody and experimental as it fused in dubstep, and Little Machines split the difference between the styles... and yet I'd struggle to say that outside of isolated moments that these records just never quite connected for me. The framing of the writing and Lights' delivery never quite meshed with the synth tones she chose, and in years where there was an abundance of artists pursuing similar sounds - particularly CHVRCHES - I never thought her material stood out.

But I've covered a lot less synthpop in the past year - hell, in 2017 I've barely covered the genre at all - and so maybe without my own personal saturation I'd find something distinct and special on this project, which Lights herself has described as her most carefree and fierce record to date. Okay, I'm in the mood for some pop like this in an increasingly dour year, what did we get?

video review: 'ken' by destroyer

I honestly think this might be one of my best reviews - what can I say, Destroyer brings out the poetic side of my writing in a really good way, I dug this.

Next up, some older business I should have covered a good month ago, so stay tuned!

album review: 'ken' by destroyer

It's hard to talk about Dan Bejar's work as Destroyer. Not just for its sheer diversity of tones and sounds that have flipped through a dozen different genres over the decades, but also because getting a grip on his writing... well, most people don't. Hell, even with every listen to his records I don't quite feel I always get his turns of phrase, and I've struggled to articulate why that is. Even on songs where he does get more direct - and there's been less and less of that with his work in the 2010s - the implications and subtext of his work often linger longer than the actual text, sometimes picking up enough of a foundation like in the cinematic swell and grounded themes of Poison Season, but other times... look, I like Kaputt, but that record can get lost in its own slick 80s-inspired sophisti-pop atmosphere, and I often find myself going back to the more grounded but still potent Thief, or Streethawk: A Seduction, or my personal favourite, the melodically stunning Your Blues.

But one tone I've always felt can be hit-and-miss for Dan Bejar was instability, mostly because I've always found him most compelling at his most refined and measured and emotionally expressive, where you can tell the structure reinforces and propels the emotional transcendence that his most poetic lines and delivery can hit. Without that structure, you get records like Trouble In Dreams and This Night, frequently compelling but messy in a way that gives you the suspicious feeling Bejar might be trolling his audience - and even if he swears he's not, it's not a feeling that goes away. Such was my concern with ken, which was reportedly scaling back from the grandiose power of Poison Season for something a little smaller and sleazier, with chill murky tones playing for noir but potentially tilting in over-stylized but conceptually underweight kitsch - in other words, the buzz was not exactly promising. But I wanted to dig into this for myself - Bejar is too good of a writer and too innovative a composer for me to not give this a chance, so what did I find in ken?

video review: 'letters never read' by dori freeman

Man, not a huge amount to say on records like this, but when it's this straightforward and good, you don't need to say much. Definitely check this out.

But now for something that's probably equally as good and not straightforward... well, stay tuned!

album review: 'letters never read' by dori freeman

There's a part of me that's always a little surprised that Dori Freeman doesn't get more buzz - but then I go back to that self-titled record from last year and remember instantly.

And believe it or not that's not a diss or anything! Dori Freeman's debut was one of many fantastic records from women in indie country in 2016, anchored in terrific layered and textured production from Teddy Thompson - son of the legendary Richard Thompson - and bound together with Freeman's writing that was subtle enough to soothe but sharp enough to sting when you least expect it. But subtle, plain-spoken indie country records like this can be easy to overlook, especially given the understated presentation... at least until you go back and remind yourself exactly why it's so damn good, which you can bet I did before listening to Letters Never Read, her follow-up that was just released. Now I did have a few reservations about this - more than a few songs were covers this time around, and yet it was only a ten song release that somehow is even shorter than the last two ten song records I covered, clocking less than a half hour. But on the other hand, it wasn't like Dori Freeman didn't pack her last album with detail on its short length, so what did I find on Letters Never Read?

video review: 'losing sleep' by chris young

And this was... I can't even say this was a disappointment, because it was pretty much exactly what I expected. Forgettable and boring, I won't give this a second thought in a day.

But next up, hopefully records that are much better, so stay tuned!

billboard BREAKDOWN - hot 100 - november 4, 2017 (VIDEO)

Well, this sucked. Amazingly Garth Brooks somehow has not flagged the video for copyright, but we'll see if that lasts...

video review: 'flicker' by niall horan

I honestly have no idea why so many people are surprised I find this so damn satisfying, but my god, it just works for me. I can see this growing on a lot of people, especially if he releases more of the Fleetwood-esque songs.

But now, for something far worse...

album review: 'losing sleep' by chris young

This is not the country record I want to be covering right now. If I had my way I'd be reviewing Turnpike Troubadours and Dori Freeman, two artists I'd argue are making far more interesting and compelling country music and I'm desperately hoping that my schedule will enable me to talk about them as soon as possible. 

But before then we have to get through a record from an artist that I used to like but now have no real expectations that he's going to make interesting or particularly good music. And yes, I know that's really harsh, but going into this, did I honestly have any evidence otherwise? Chris Young may have started in a very tasteful, adult-leaning neotraditional sound, and even his bro-country pivot did far better than it had any right to with A.M. in 2013, but his choice to work with Corey Crowder on production - whom in going through his credits doesn't appear to have worked on anything all that memorable - has resulted in a sound that goes back to that same 'mature' tone but with production and writing too flimsy to support him. So on top of feeling generally tepid, it's underserving an artist who frankly needs a richer instrumental palette to match his voice. It's one of the many reasons I'm Comin' Over was a disappointing and forgettable record for me, but hey, it notched just enough singles and sold enough copies to mean Chris Young had no reason to change or vary his formula - and the lead-off single and title track seemed to support that hypothesis. So, was I right about the rest of the album?

billboard BREAKDOWN - hot 100 - november 4, 2017

So I'm not saying this week was crazy busy or anything - it really wasn't, and outside of some notable shifts, most of our new arrivals feel pretty minor. But for the first time in some time I have the feeling that the charts are actively starting to shift in response to major releases, and I expect with weeks to come we'll probably see even more of it...

album review: 'flicker' by niall horan

I think I've been looking forward to this record more than... well, pretty much everyone else. And that's not entirely surprising - if you've followed One Direction's career arc, Niall Horan didn't really seem to stand out. Liam and Louis had more writing credits, Zayn and Harry seemed to have more personality and wanted to make bigger statements, with admittedly mixed results. Hell, even when I covered his debut single 'This Town', I expressed some surprise that he was out of the gate ahead of Harry and Liam, who would both go on to having more success throughout this year.

And yet there was an odd part of me that actually kind of liked this guy. I didn't think his writing was stellar but he seemed to have good instincts and a decent sense of maturity. And I liked many of his collaborators - I've always thought Tobias Jesso Jr. is better behind the scenes than on his own work, there's a credit from Dan Wilson formerly of Semisonic, somehow he managed to get a guest appearance from Maren Morris, and for as much as Greg Kurstin has frustrated me over 2017, for this sort of understated acoustic project I hoped he would be a good fit. On top of that, it was just over a half hour - it didn't seem to have the ambition to go huge that Harry and Zayn did, and if the writing was good, maybe smaller stakes could serve him well. So okay, did we get anything worthwhile out of Flicker?

video review: 'of erthe and axen: acts i & ii' by xanthochroid

Have to be honest, this one took a lot out of me, but a worthwhile listen all the same.

But now something light...