An Orchestrated Album Made Effortless (Valerie June, The Order of Time review)

 

We need to find more light. Because the light shines brightest when we focus on it over the dark.

That’s the challenge musicians, singers, and songwriters face every day. How do you serve a greater purpose and cut through the darkness of monotony? I think this week’s album review might have an answer.

 

 

 

Valerie June – The Order of Time
released March 10, 2017
********* 9/10

Valerie June is an American singer, songwriter, and musician. She has a unique sound, which I realize is something of a cliche to say, but it’s true. June holds dear a mixture of blues, soul, and mountain music. But not just mountain music, there is a mixture of gospel, country, bluegrass and folk in there too.

This is the fourth outing for June and much like her third album, Pushin’ Against a Stone, June continues to explore the notion of quality music over innovation.

June works over each song slowly, building in nuance and an essential quality of care for her own vocals. It’s heavy in places, and airy in others, but never feels unnecessary or problematic. Starting off with soft opener Long Lonely Road, a saccharine exploration into salvation, June continues onward and upward, considering the very key elements of time, love, and music as we wander through her album. It an autobiographical track that is immediately intimate, but not a tell-all by any means.

Following this is probably one of my favourites of the album, Love You Once Made. Filled with organ sounds and shifting effortlessly between indifference and indignation, it describes the true feelings of a love lost. Luckily for us, this is only the beginning of the organ use – Shakedown is the opposite of what precedes it, upbeat and effervescent, it could have a place in any popular blues act of the day (read: The Black Keys). Next up is If And, another of my much liked tracks. In this one, June sways to the beat and rhythm while crooning away about the dangers of an unloved woman.

The whole album plays out this way, full of wisdom, and vocal intensity, June is doing what so many other acts out there seem to refuse right now, and that is to provide substance. Wonderment on Astral Plane, simmering heat on Man Done Wrong, and the consideration of intimacy on Front Door. These are just some of the themes explored throughout The Order of Time, but this album is most definitely something that will either grow on you or put you off, I can write that with confidence.

But what I’m most excited about in listening to this album is that Valerie June is black woman drawing from a wealth of musical history and managing to make something far cooler than anything I’ve heard in a quite some time, and she does it without concerning herself over political issues – the music delivers it best.

 

 

 

 

 

Valerie June continues to make music which separates itself from the mainstream while operating within it. This is a rare feat for any artist and worthy of our attention. But as I mentioned previously, it might not be for everyone, and that’s okay. I like that notion that light is cutting through the dark in due time.

Tim!

Grey Matter (Governance)

 

Decision making is hard, dear readers.

And sometimes implementing an easy decision really is the wrong thing to do, while implementing the complex decision turns out to be the right one. Unfortunately for all of us, life is not quite so simple as those black and white principles, and even Luke Skywalker is probably going to realize that going grey is the most pragmatic solution. But don’t take my word for it, read this theory about why jedi and sith are likely old news, and that by Episode IX’s end, we’ll likely see a new type of force user emerge victorious.

I hold that this theoretical decision making on Skywalkers part will come down to good governance. We cannot have light without dark, and if you increase one over the other, the secondary element must evolve in kind. But when we combine elements of light and dark, the contrasts give way for subtle shifts in grey and a much stronger range of tonality.

I personally believe this applies to how governments should operate as well. Well as much as I can say in 1000 words or less.

When public funded institutions conduct their public affairs and manage public resources in a responsible and effective way, they are enacting good governance. Those actions cannot be conducted only out of selfish needs nor can the patrons be so altruistic that they never stand up and fight for their people.

But what is governance anyway?

According to wikipedia, governance refers to

all of the processes of governing, whether undertaken by a government, market or network, whether over a family tribe, formal or informal organization or territory and whether through the laws, norms, power or language.

That means working with many different people of many different functions to organize and operate all of those functions in a way that benefits those people.

Not Just A Liberal’s Fancy-Free Dream

What this means to me is that we HAVE TO work together to ensure everyone’s voice is heard, and that decisions are made which always put safety and welfare FIRST and which are for the aid of as many constituents as possible. Good government operates as a sum of it’s parts, the light, the dark, and everything in between. The grey matter of the body.

As an example of support by representation, The Canada Council for the Arts exists primarily to ensure the Canadian people are given a range of public art projects regularly, by investing in the arts through grants and services which bolster the broad range of cultures which make up Canada.

That and they help to raise awareness for the arts too.

But this is just one example of many types of programs which exist in modern day governments, and which are key to the success and development of our communities in a state of global communication.

Programs exist for the disabled, for impoverished, for sports, and for education.

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But, and I hesitate to share this, there is this notion out there that a great many conservative supporters like to say fairly often – creative types are bleeding hearts, and successful ones are supposedly so far removed from the real world that they cannot see the forest for the trees – but I strongly disagree with this notion.

And I don’t share this point lightly, because it is true that we can’t all be movie stars and music geniuses, a great many of us live our lives in the working class, and that ain’t so bad. But good governance should see through classism and recognize the issues at hand first and foremost, no matter what voice an issued is raised with.

Ashton Kutcher – Smart Cookie and Model Citizen

I originally planned for this post on governance (inspired by the Postconsumers response to the OECD index) to be about how artists can uniquely contribute to our communities in the voting process, and where supporting local initiatives and pitching in in ways other than with our pocket money DO make a difference… But then I ran across a tweet about Ashton Kutcher this morning.

In case you aren’t familiar, Ashton Kutcher got his start as a professional model before eventually breaking out into television and film as an actor, and then working his way into investment opportunities as a venture capitalist. He’s been involved in numerous startups over the years including Skype, Foursquare and Airbnb. He’s a smart cookie, though he plays a dummy on TV.

Probably the most impressive thing about him though, is that in 2009 he established an international human rights organization called Thorn with now ex-wife Demi Moore. It’s goal is to address the sexual exploitation of children and human trafficking on a global scale. I mention this because in the tweet that twitter user shared, the author acknowledged how ludicrous it was that Kutcher had to defend his profession as an actor before he could address a US senate committee on the successes of the software his company has developed to fight human trafficking.

He then explains how his technology will helps save thousands of lives, and how investing in it is necessary for us to commit to good governance.

I’m going to share a clip of his speech because I cannot do it more justice than Mr. Kutcher did himself.

theories Summarized

When we practice good governance, we are using our grey matter appropriately. And my hope is that by recognizing all human beings have the capacity for light, dark, and grey actions in-between, that creative professionals are not limited by their hearts, rather their strengths of language allow them to communicate what good governance is. At least, that’s the theory anyway.

Tim!

You Want It Darker (Sum 41, 13 Voices review)

Leonard Cohen left this world in both a dramatic and cheeky fashion with his final offering. He realized long ago that true music fans almost always want more from you, more emotion, more physicality, more spirituality, more presence, the list goes on. With his final album, You Want It Darker, Cohen gave us something quite visceral, but poked fun at our expectations.

This weeks album review is more of the same.

Sum 41 – 13 Voices
released October 7, 2016
******** 8/10

sum41_2

 

Sum 41 Is a Canadian band that makes punk, rock, and metal music, mostly of the alternative variety. What this means is that they are influenced by a number of musical genres and what that sounds like exactly has been heavily disputed by even their most committed fans.

What started as a predominantly pop and skate punk sound with their first effort slowly evolved to feature melodic hardcore on the second album and eventually stronger rock and metal treads with Chuck. After exploring those heavier themes, the group went back towards their pop punk roots for the fourth album Underclass Hero, and then dark again with Screaming Bloody Murder.

13 Voices is something altogether different. And I like it.

This is an album of recovery and reflection for lead vocalist and songwriter Deryck Whibley. After having had a brush with death from a battle with alcoholism, this is Whibley pushing back against the darkness. After all, the very first three tracks, A Murder of Crows, Goddman I’m Dead Again, and Fake My Own Death are all dialed right into that feeling of anger against himself and the drug that almost finished off the job.

This is a darker album, and while it does kind of feature a new direction, as already mentioned, Sum 41 DID try to do this back in 2011 with Screaming Bloody Mirror, though not very successfully. The reason why this is new is because it’s a return to form with the reintroduction to Dave “Brownsound” Bakash to the group, the metal backbone of Sum 41. He left after Chuck, and I don’t think the band has been nearly as good since that time. Some of my personal favourite tracks are 13 Voices, War, and The Fall and the Rise, but I think both older fans of the first three albums and current ones will be able to get behind this new Sum 41 machine.

This is a technically well made album, and while there might be some haters out there harping on Whibley for writing the songs with keyboards whilst listening to movies with the sound muted, these guys are not your typical punk group, nor your typical metal group, they managed to transcend that pop and skate punk sound. Don’t believe me? Give Breaking The Chain a listen or two and you’ll be on the Pain for Pleasure train once again (almost forgot about that alt-persona didn’t you?).

People, Sum 41 have introduced violins into their sound FINALLY after so many years, odd given that the punk group I associate with violins, Yellowcard, signed off this same year.

This album is a timeline of the redemption of Deryck Whibley after almost completely falling apart in the aftermath of the Steve Jocz quitting the band and the gruel of their last tour.

Is this album perfect? No, it isn’t. But it’s pretty goddamn good, and thankfully I’m not dead again.

 

 

 

This band finally did what they’ve been claiming they would do for years… ditch the pop from their sound and fully embrace the punk. Hell ,they might even be leaning more into metal for the first time since, well, ever. As someone who grow up with these guys, albeit a few years behind, this record demonstrates what was always behind the pop punk sounds and silly nicknames, a real message about dissatisfaction with society and being discounted before given a chance to do something. Empowering ourselves never felt more important than it does with 13 Voices. We may not have realized we wanted a darker Deryck Whibley, but I’m sure glad he gave it to us.

Tim!

Sweet Stardust of a Thriller, Boy (The Weeknd, Starboy review)

The synthesizer seems to be back in full force ladies and gentlemen. That desire for quality samples, lossless file compression and physical models seems to be something that most if not all top shelf pop music trend setters are using right now.

But for why?

The Weeknd – Starboy
released November 25, 2016
******* 7/10

starboy

Abel Makkonen Tesfaye, known professionally as The Weeknd, is a Canadian singer, songwriter, and record producer. The Weeknd got his start by anonymously uploading several songs to YouTube under the pseudonym “The Weeknd,” of all things. At that time he had released three nine-track mixtapes throughout 2011: House of Balloons, Thursday, and Echoes of Silence. Which surprisingly enough to many critics at the time, were received quite well. In 2012 he decided to release a compilation album known as Trilogy, effectively the remastered mixtapes he had released before but with three additional tracks and totally thirty songs alotogether. It was released under Republic Records and his own label XO.

In 2013 he released his first studio-length album Kiss Land, which featured the singles Kiss Land and Live For. But it was his second album, Beauty Behind the Madness that really charted his success. This is where Earned It, The Hills, and Can’t Feel My Face factor in. Fun fact, these songs made him the first artist to simultaneously hold the top three spots of the Billboard Hot R&B Songs chart. The Weeknd has also won two Grammy’s and been nominated for an Academy Award.

Oh, and did I mention that he’s Canadian? Yeah Canadian content!

But what about Starboy? Well, look what you’ve done… I’m a motherfuckin’ starboy.

This record starts off quite strong, Starboy, Party Monster, and False Alarm in particular hold your attention with their commitment to the beats The Weeknd and his team of production engineers are famous for. After all, we know he isn’t doing this all on his lonesome. Which reminds me, I think that Stargirl might be the most fascinating interlude/intermission I’ve heard in years. Lana Del Rey is excellent as the female foil to The Weeknd, and she manages enough tension to keep the pace of the record, at least for a little while.

Now let’s consider the album as a whole for a moment. I have this rather wild theory that The Weeknd might not have had as much time with this project as he would have liked. He’s known for his ability to construct strong narrative levelled projects, I’m looking at you Trilogy.

And while Starboy (the album, not the song) is mostly about The Weeknd’s relationship with a woman, that message doesn’t easily come through. The collaboration with Kendrick Lamar on Sidewalks for instance, is kinda cool, but feels out of place, if I’m being really honest. Also am I crazy for hearing Michael Jackson AND David Bowie when I listen to his voice long enough?

Probably not, because The Weeknd is more than capable of floating between pop, rap, R&B, disco and electronica. Hell, he can even do 1980s pop justice. Maybe that’s where the deceased pop stars come in…

And while The Weeknd has en endearingly dark and uniquely hedonistic voice in the realm of music, it can be a bit much to stomach his lyrics against those typical pop structures. That, and as I mentioned already, the narrative doesn’t feel as tight on this album. Abel Makkonen Tesfaye is more than capable of being a motherfuckin’ starboy and he knows it, but this album isn’t him at his best.

 

 

 

I have this theory that analog synthesizers went out and digital synthesizers came in because they were cheaper, but nowadays that isn’t really a motivating factor for musicians.

However, the variety of sounds that digital synth offers feels unrivalled in many cases. And when an artist is capable of spreading their music talent across several genres, employing synthesizers to craft that sounds seems like a natural fit. The Weeknd gets this, and when he spends his time on both production and telling a strong story, it makes all the difference. Starboy might not be the greatest, but The Weeknd sure is a star boy.

Tim!

 

Cuts Like A Knife (Whitechapel, Mark of the Blade review)

I’m happy to be hardcore, when the occasion calls for it. If I’m being perfectly honest, I don’t think it calls for it that often though.

It’s difficult to get into that state of mind when you realize that like anything in life, you have to make a commitment and experience all the nuances of the thing. And if you aren’t ready for that level of absorption, you’ll fake it for a long time until you make it through.

Which sounds incredibly painful to me. Better to do what you love and makes changes along the way.

 

 

 

Whitechapel – Mark of the Blade
released June 24, 2016
****** 6/10

Whitechapel-Mark-of-the-Blade

Whitechapel are an American deathcore band, and I don’t think you’d find too many dissenters against that assessment. They are comprised of vocalist Phil Bozeman, with Ben Savage on lead guitar, Alex Wade and Zach Householder on backing guitars, Gabe Crisp on bass, and Ben Harclerode on drums. They’ve taken their name from the famous Whitechapel district of East London. You know, where Jack the Ripper murdered a bunch of people? Yeah that Whitechapel.

Their influences come mostly from Phil Bozeman and Ben Savages mutual love of death metal, but with a decent influence in black metal and hardcore. Think of bands like Cannibal Corpse, Slipknot, Pantera, Slayer, Vader, Carcass, Amon Amarth, and you’ll start to see the picture.

I’ll admit, as I always do when it comes to new territory, that I’ve never listened to Whitechapel before nor do I know much about the deathcore sub-genre of extreme metal. Which is apparently a fusion of death metal, metalcore, and hardcore punk. The real lesson here is that it shows me how little I know about metal, but that’s a cross I’ll have to bare in this review.

Mark of the Blade is Whitechapel’s sixth album to-date. And apparently it features their most clean vocals too! Which I find absolutely fascinating, because normally this kind of music is difficult for me to separate out lyrics with. Thankfully the liner notes came with lyrics because it helped me to digest the music that much quicker and appreciate what had gotten myself into.

And that led me into a bigger rabbit hole – The lyrics are dark and the message is pretty much to the point, go fuck yourself if you’re pretending to be something you’re not. That and pain is real. It’s something we will all experience thoroughly before we die. Alone.

Maybe that’s a harsh and short statement to make, and the content isn’t entirely without hope. Whitechapel asks us to find solace in brotherhood which comes from a million scars, both self induced and acquired through violence and subjection. Yeah that was mean of me.

To be honest, I think the tempo of the album has a lot to do with the unevenness of my experience too. The clean vocals make sense on Bring Me Home because he is singing about his dead father, and Decennium is an epic closing track, so that is great too. I enjoyed the instrumental middle song called Brotherhood too. Maybe that’s the problem, though, when I just sit with Whitechapel, I get lost in it and it doesn’t do it for me, but those irregularities for me make the band interesting and worth more visits down the line.

Did I fall in love at Whitechapel? No, but I think I just made a commitment.

 

 

 

Whitechapel are making music that they care about, tweaking it as they go. I flirted with something new and gained some more perspective on the dedication and skill required to embrace the beast that is extreme metal. But fortunately enough, I have a bit of experience with music and lyrics, so it was like I was thrown to the lions.

As a friend reminded me the other day, Whitechapel might not be producing Grammy worthy music, but that shouldn’t be how we view their oeuvre. Within their musical realm, they’re doing great work, making their mark. And that’s all of the theories I’ve got for today.

Tim!