ROCK'S PATH FORWARD BY: Ian Sherry 3/22/2023 HEADLINE: Rock is no longer the most popular genre. I could go on and on about the downward trend of the former super-genre. However, to be prompt I’ll simplify it to this: after being the dominant genre of the 70s and 80s and the 90s to an extent, mainstream rock sat too comfortably headed into the age of computers, autotune, and one-trick production brought on by the 2000s. The result is two decades of uninspired pop-rock (a real and pitiful genre in my opinion) and an experimental rock reaction, which often tries too hard to be different and not enough to be good. I could name a lackluster band like Imagine Dragons here, but I won’t because I’m a nice guy. This is all, of course, generalization, but the rising consensus is that rock is in serious trouble. Everyday the internet's ‘hot takes’ become more condemning towards the genre, with many declaring it dead. These claims gain credibility through validation from well-respected critics like Anthony Fantano. Fantano is not anti-rock, he’s realistic. Not only are these opinions reasonable, they are fairly true. Rock’s days as the number one genre are done for the foreseeable future and for good reason. For a long time rock was associated with pop, but pop is often just a reflection or variation of the most prolific and replicable style of music at the moment. So, with pop shifted in a non-rock direction, rock has become limited by its lack of reputable neighboring genres. However, rock is not dead as a genre, and, while I could point to countless contemporary artists and projects, I choose one man: Jack White. If I could have a conversation with the genre of rock I would request the following: steer away from pop (it will find you), dip into other contemporary genres, and don’t be afraid to draw from wherever you want. In 2022, Jack White did all of that and more. His two albums Fear Of The Dawn and Entering Heaven Alive cover all the bases and showcase his mega-talented studio presence. Between the two of them they display aspects of folk, hip-hop, and a plethora of rock sub-genres; I’ve even picked up on some reggae influence in songs like “Esophobia” and “All Along The Way”. There’s also a wide variety of emotions and themes, something White has employed since his White Stripes’ days. I know that all sounds fantastic, so allow me to elaborate. “Taking Me Back” is the first song on Fear Of The Dawn and “Taking Me Back (Gently)” is the last song on Entering Heaven Alive. Often artists will give you two versions of one song on the same album, with rap you may get a remix or instrumental version and with other genres, artists will often tack on an acoustic version. What White did here is less common. He took the same song lyrics and some of the bones, and stripped everything else, rebuilding it nearly from scratch. The original is a hard rocking loud track that leads into Fear Of The Dawn perfectly. It sets the pace of the album and introduces some of the tools he’ll use throughout it. My favorite is this sputtering guitar that cuts overtop the instrumental intermittently in this song and some others on the album. It seems like his equivalent of a record scratch and it brings energy every time it's used, breaking down layers of instrumentals that would’ve been overly dense otherwise. “Taking Me Back (Gently)” is much simpler. The rhythm is slightly different and the instrumental is more relaxed without killing the energy of the track. While it’s less of a standout in the scope of the entire album, it is a really enjoyable song with an energetic violin and a lengthy instrumental break that entertains and provides breathing room that the original version lacked. By including these two songs, and placing them on either end of the albums, White bookends his 2022 releases and puts an undeniable emphasis on the diversity between the two. He also showcases the kind of energy each album possesses, so if you’re deciding which to listen to first, I would suggest starting with these tracks to help you decide. “I’ve Got You Surrounded (With My Love)” is my pick for the best song on Entering Heaven Alive. It is a fantastic groove that uses a heavy bassline to give the track pace and depth. Over the top, White layers keyboard and a buzzy guitar as well as vocals that sound like they’re in the other room (in a good way). All these elements are mixed perfectly to create a unique atmosphere complete with well timed instrumental breaks. It is a 4:25 minute song that feels like two minutes, which is a great sign. A big reason for that is the song’s structure. There are technically two verses, with only two lines each, and two bridges, as well as several variations on the catchy chorus that works as a transition between unique instrumental breaks. What stands out when listening to these albums is Jack White’s creative abilities in the studio, but “I’ve Got You Surrounded (With My Love)” is a songwriting clinic. One of the biggest complaints about rock recently is its inability, or more accurately, its tendency, not to branch out into other genres. On “Hi-De-Ho”, featuring Q-Tip, White takes that step outside the confines of traditional rock stylings without departing from his aesthetic. The track opens with an impressive intro from that same buzzy electric guitar followed by a sample of Cab Calloway’s “Hi-De-Ho Man”. After about 1:20 of what can only be described as confusion, the baseline drops in and so does Q-Tip. He just flows over the looped baseline while drums roll over the top. Simple, but effective. Then White joins in on the bridge for some moaning vocals, that mainly serves to cut the track before it gets too repetitive, before riding out on the same catchy looped beat. It’s a fun song with lots for a listener to easily unpack, and on top of that, I enjoyed the Q-Tip feature which is frankly unusual. “Into The Twilight” is my favorite song on Fear Of The Dawn. It has the wailing guitar of “Taking Me Back” and the energy of “Hi-De-Ho”. It jumps in with another great baseline, a gentle piano riff, and that same guitar sputter. The vocals are kept to a minimum and the focus is on the rising and falling synths and various soundbytes that White weaves in. Brief samples of The Manhattan Transfer are twisted and woven throughout, being used to cut through the heavy guitar and replace the need for verses or bridges. On the way to the conclusion of the song the entire instrumental is torn down before being built up layer by layer. The chorus repeats one more time and it rides out on what feels like a fun improvised keyboard. But, nothing is improvised in this song. It is perfectly mixed and cut, showing a level of expertise Jack White seems to always have in his back pocket. Listening to an artist like Jack White forces me to understand I belong on this end of the music business. Because, I can’t fathom doing what he does in the studio; a depressing thought that is often washed away immediately by pure sonic pleasure. White, to me, should be the prototype for a genre that desperately needs innovation. His ability to involve traditionally genre-specific techniques without leaving his own stylistic comfort zone might be unique to him, but his willingness to try it shouldn’t be. Rock is not dead, but it needs help. In 2022, whether he meant to or not, Jack White gave the genre what it needed. It’s up to his peers to follow suit.

Tabs On Tigers: Roster Preview 3/21/2025 BY: IAN SHERRY The Culture Gyre was on assignment last week in Lakeland FL, otherwise known as Tigertown. The life that MLB baseball brings to metro areas across Southern Florida this time of year is, aside from traffic, one of the most inherently positive sports phenomenon I’ve ever been a part of. Tabs On Tigers Vol. 2 As the Tigers near the regular season, injuries have added to the nuances of their roster finalization. Strong performances from familiar faces attempt to cut through the noise. If there’s one thing Tigers fans can know for certain about manager AJ Hinch, it’s that he’s approached this roster construction from every angle his baseball mind can concoct. Whether it be positional flexibility or experimental pitcher scheduling, the pencil-and-eraser strategy Hinch is becoming famous for is where fans should expect his greatest managerial impact. In fact, a positive fan, encouraged by last year’s shorthanded strategy-fueled playoff berth might see a similar opportunity developing this spring. The Injury Bug With 1 week until opening day, the Tigers have already lost Alex Cobb (SP, 37) to a hip injury, Matt Vierling (OF/3B, 28) to a rotator cuff injury, and Parker Meadows (CF, 23) to a nerve issue. Cobb and Vierling are already scratched for opening day, and while Meadows remains enthusiastic that he’ll return for the opener, Hinch has been more cautious as it remains unclear what, if anything, needs to be done for the promising young outfielders shoulder. For the rest of the Tiger hopefuls, this means an extra 2/3 roster spots are up for grabs, which adds to a total of what we estimate is 6 unfilled positions. FILLED POSITIONS STARTING ROTATION As is the case for every position, some players are simply locks. There’s no better examples than the reigning Cy Young Tarik Skubal. The hot commodity Jack Flaherty and promising Reese Olson are also present on that list of sure-ins, and given his performance so far this spring Casey Mize is developing a very strong case. The 27-year-old starter was the Tigers’ first overall pick in 2018, largely due to the mechanics that earned him Tommy John surgery. Mize is now a pitcher challenged with reinventing himself whilst establishing himself as a pro starter, something most successful Tommy John recipients have already earned. The noodle looked fine last Wednesday (3/12/2025), when Mize threw 3.1 innings of weak contact that amounted to 4K 3BB 1H 0R in front of us and a well-traveled local baseball crowd. Mize is still searching for a put-away pitch. While, his stuff played very well, even dominant against the stadium-less Rays bats, the veteran youngster lacked a consistent strikeout solution against hitters capable of working at-bats and drawing walks. Regardless, given the traffic jam forming around the final rotation slots, Casey Mize feels like a fairly reliable and relatively experienced option. His upside remains unclear, but he’s by far the easiest to pencil in. Jackson Jobe is the top pitching prospect in all of baseball. He started last Thursday March 13th, against the Bronx Bombers, and looked brilliant through 3. Recording 9 outs in as many batters, Jobe allowed just one ball out of the infield under Colt Keith’s glove and just one ball in the air that resulted in a doubled play via would-be-base-stealer. His second time through was less successful. The 21-year-old surrendered an impressive line-drive homer to Jasson Dominguez, and once blood was in the water the contact grew louder. Bellinger smoked a flyout to the trusty Riley Greene filling in center field, before Paul Goldschmidt walloped a ball 447 ft over the batters eye. Jobe is the most talented pitcher to emerge from our system in my memory (the last 8 hours), but average rookie struggles, like the second and third times through the order, are real kinks that need ironing. Jobe did time in the bullpen last season, but don’t expect to ever see him there again. If Jackson Jobe really is the best option a week from now, he will be in that fifth slot, if not he’ll return to Toledo and poise himself for an arrival within the year if the opportunity presents itself. As for the remaining starting pitching candidates; Matt Manning, Ty Madden, Wilmer Flores, and Sawyer Gibson-Long remain steps away from the bigs. Kenta Maeda made a worse case for himself than any other roster-member last year with a 6.09 ERA. The Japanese legend’s sorry campaign has since been diagnosed as a failure to ramp up, specifically with his slider – the pitch that’s almost completely responsible for his ability to compete with age-depleted velocity. If he doesn’t present himself as a MLB-ready contributor either in relief or the fifth rotational slot, it seems unlikely the Tigers would afford him a roster spot at any level given this is his second and last year of a $24 M contract. Listening to Keider Montero’s starts on the radio last year was a true joy, as Dan Dickerson and his cast of cohosts would often delve into the developmental mindset of the Tigers organization. Montero was a AAA-level talent last year, but he showed enough maturity as a coachable major-leaguer to lock down a spot in our depleted rotation while trying to learn a more efficient approach to controlling at-bats – not to mention sharpening his stuff to MLB standards. In 4 appearances so far this spring, Montero’s hard work’s been worth 9.2 IP, 13 K, 5 BB, 8 H, and 4 R (all of which came in his third start) for an ERA of 3.72. His workman’s attitude is an essential ingredient to last season’s success; the player in me can’t help but hope Keider Montero makes the Tigers roster. BULLPEN The assumptions made on the roster mock-up above are based on seniority, performance, and the likelihood that free agency investment implies roster security. Regarding the final 2 spots, assuming Hinch opts for the standard 8-man pen, Tigers’ RHP Brenan Hanifee impressed at last Wednesday’s game and has yet to surrender a run this spring in 7 innings of work. Then the trio of left-handed options: third-time-Tiger Andrew Chafin, who’s ramping up late on a minor league deal, long-relief option Brant Hurter who logged 45 solid late-season innings last year but has surrendered 7 runs in 10.2 innings this spring, and Sean Guenther whose limited workload resulted in a sub-1 ERA last season (21 IP) and 17.18 ERA this spring (3.2). CATCHERS A Jake Rogers and Dillon Dingler duo at catcher seemed to be a sure thing headed into the spring. Rogers’ defensive value all-but-guarantees his starting role, especially given his relationship with the top of the rotation. The Tigers however, still chose to bring catching prospects Thayron Liranzo and Josue Briceno to camp, as well as veteran minor-league signees Thomas Nido and Brian Serven. While the young fellas are definitely there more for experience than roster contention, their presence shows a searching attitude – the kind we wouldn’t have expected with Dingler’s former stock as a prospect. Dingler, the Tigers top prospect during their farm system’s weakest years, has yet to post a convincing major-league offensive campaign in a limited sample size. But, amidst mounting pressure from below this preseason, he’s responded well enough to all-but-clinch his job with a .273 AVG, a .860 OPS, and a pair of homers. INFIELD An interjecting word of advice on Javier Baez: we’re harboring the shell of an All-Star shortstop who fell victim to a mental/mechanical standstill that will likely claim his career. Wasting your energy criticizing his offensive performance at this juncture is akin to criticizing the paintjob of a car you just witnessed smash into the post office. Like every other major roster category, the infield is nearly set in stone. Last Thursday Hinch gave Baez a shot at 3B, where he made 1 error you could chalk up to unfamiliarity, but he made up for it at the plate of all places with an RBI double. As for the rest of the left side, the left-handed Trey Sweeney is all-but guaranteed a bid at the starting shortstop spot. Zach McKinstry and Andy Ibanez’s given specialities always have a place on Hinch’s bench. I assumed Jace Jung would earn a similar misfit safety, but all he’s done this spring is hit his way out of contention with a .121 AVG over 33 at-bats. Jung is aptly named, and he’ll get more opportunities to crack the major league roster if he continues to grow over the next couple years, but I can’t imagine the Tigers offering him that opportunity a week from now. That leaves just one primary infielder attempting to hack his way onto this team: Spencer Torkelson. The Tigers most recent #1 pick has had well-documented ups and downs, and while I’m extremely hesitant to buy into the young power threat, he appears to be on another one of those upswings this spring. Torkelson’s odds weren’t great entering camp, backup right-handed first basemen are a rarity, but as the struggles continue on the opposite side of the infield and the injuries continue piling up, he’s hit for a .297 AVG, .955 OPS, 4 HR, and 9 RBIs including a homer, double, and 4 RBIs just for us last Wednesday. The strikeouts are still too prevalent (10/40 at-bats ended with a K so far), but these glimpses of a shortened power swing are exactly what Tigers management need to see from Tork. OUTFIELD The closest player to Spencer Torkelson in terms of makeup is Justin Henry Malloy. The young right-handed bat was initially acquired as an infielder from Atlanta in exchange for Joe Jimenez, before moving to the outfield and making measured but legitimate contributions for the Tigers last season. He worked into a rotation of 5 or 6 outfielders at a time on last year’s roster and has taken some reps at 1B this month. Malloy has notched a .308 AVG to throw him into direct competition with Torkelson who’s recently taken balls in the outfield on the back of his promising performance so far this spring. Non-roster-invite Jahmai Jones made a bit of an impression at the beginning of camp, but has since petered off to a .242 AVG which I find unlikely to infiltrate the Tigers quality outfield. The recently healthy Wenceel Perez also has his work cut out for him. The switch-hitting multipositional contributor was an important part of last year’s injury-ridden outfield, but he’s gone just 3/21 to date. The status of bubble players like Torkelson, Malloy, Jung, and Perez, none of which are a necessity, depends almost entirely on Parker Meadows’ status. Riley Greene and Kerry Carpenter are locks (though Carpenter’s fielding may be preferable at DH), so a healthy Meadows would round out a starting outfield. Even if Meadows isn’t healthy, there is a possibility he makes the roster anyway with the expectation that he’d return within weeks of the season’s start. Either way there is a need for right-handed hitters to back up a potentially all-lefty outfield. That just might spell Tork.

A Perfectly Timely Review of Head of the Love Club BY: Ian Sherry 5/22/23 I discovered Hänlyn shortly after the release of this EP and after spending the last few months listening to her I decided she was the final piece to an article I’ve been wanting to write for some time. As I attempted to properly unpack Gretel Hänlyn’s talent in her section of “Putting You On Three” , I realized this EP needed its own review. So, months after the release, it’s here. On March 13, 2023 Gretel Hänlyn released her sophomore EP Head of the Love Club. Gretel Hänlyn’s debut Slugeye showcased a clearly defined and developed sound coming from a talented artist. Its production, song structure, and stylistic flexibility, (all things young artists often struggle with) were all standout quality. She thrived when creating complicated soundscapes and then singing right down the middle of them, allowing the music itself to shine while her voice pulls everything together. It was a musically diverse and well-rounded EP, but after this most recent release it feels safe. Gretel Hänlyn’s 2023 Head of the Love Club is exciting to say the least. Let me tell you why. “Dry Me” is a perfect start. Immediately Hänlyn brings an intensity, both vocally and instrumentally, she’s never shown before. She ranges up and down vocally within lines, hitting highs and lows in just one sentence. The vocal performance itself pulls the listener in close through the 1:30 mark, at which point she begins to build tension. Rising synths and a repeated acoustic guitar progression lead to the payoff at the 2:45 mark: her voice reaches peak intensity, and heavy piano slams in the low end along with the drums as a much lighter piano riff is sprinkled over the top. The intense soundscape provides the perfect release of tension, and though it lasts just over 15 seconds, it is a fantastic preview of things to come. Moving chronologically, “Drive” puts this EP in motion. Employing a lot of the keys to the success of Wet Legs debut project, Hänlyn nails the more raw end of this modern indie pop sound. The electric baseline rolls over and over, setting the pace alongside punchy drums. Her buzzy spoken vocals sit on top, letting simplicity command the audience’s attention, until the chorus serves as a well-timed interjection. She brings in poppy feminine vocals and electric guitar to do so. Sending the audience seamlessly in and out of witty verses is essential, especially with these kinds of spoken vocals, which can wear down an audience over long terms of exposure. “Drive” is a challenge, but a simple and effective one: Hänlyn is bringing the energy and you have to absorb it. “King of Nothing” immediately addresses the other end of the modern indie pop spectrum, and its placement directly behind “Drive” feels like no mistake. To use a literary term, it is essentially a foil of its predecessor. The baseline rolls just like before, but the distortion from the previous verses’ baseline is placed on the chorus’ guitar in “King of Nothing”. The distortion is also removed from the vocals, and the higher, more delicate layered vocals take hold of the verses instead of the choruses like before. Using a similar song structure to boot, Hänlyn is able to create a completely different sound with just a few small switches. Whether or not this particular contrast is intentional, Hänlyn’s technical and artistic abilities are on full display with “King of Nothing”. “Wiggy” provides more of a stylistic continuation than the previous transitions. Hänlyn amps up the vocal layering. The song moves along nicely, once again being subtly guided by the baseline. She uses the higher pitched guitar to insert air into the track by separating the upper and lower ends of the mix. Together, these factors create a very catchy sound. For most of the song she layers the instrumental up and down more seamlessly than any of her other work, even to a fault as the final chorus is frankly built up too much. While it doesn’t have the most sonically pleasing conclusion, track 4 is another detail-oriented success that transports the audience to a happy wiggy world. Yet another stylistic swerve, “Little Vampire” revisits the Slugeye vibe. Using acoustic guitar and drowsy vocals (a combo that reminds me a lot of Nirvana), Hänlyn begins to build tension like she does so well on this EP. As the song progresses, a buzzing sound creeps up and she begins to mix in eerily delicate vocals. She even sprinkles in some keys in place of vocals. As the buzzing persists and the wall of tension continues to build, her delicate vocals start to feel crushed under the weight of what’s coming. Then, the song ends. Gretel Hänlyn knows exactly what she’s doing. She knows how well she builds tension. She knows the power of her vocals to set the mood. She knows that her command over the mix only adds to that mood. And she uses this knowledge to trick us: leaving her audience with a conclusion that should be unsatisfying, yet somehow is completely the opposite. “Little Vampire” might not be the most exciting song on Head of the Love Club , but it's a masterpiece. Hänlyn knows that too. “The Head of the Love Club” is probably the worst song on the album. It begins with a grinding distorted guitar and it continues without much pause for 2 minutes. It is just too much. The points where it releases and is replaced with a pleasant baseline are very enjoyable, but it's not nearly worth the payoff. It also disrupts the flow of the song, preventing the instrumental from building properly, removing any chance for airiness, and taking away from an enjoyable vocal performance. I know what Hänlyn was going for, but the result is disappointing, especially considering she successfully executes this concept elsewhere in this EP. Thankfully, “Easy Peeler” is a complete release of tension. Weaving in three different acoustic guitars at some points, Hänlyn creates an elegant sound. Her beautiful vocals only add to it. She adds an electric guitar on the chorus and later verses, ensuring she won’t lose that familiar low end, as she thrives atop the mix. My only gripe with this song is its occasional struggles layering the instrumental, however she nails it on the last try. She lets the vocals rest a bit longer on the last attempt, allowing herself time to layer the final high point, piece by piece, and give this pretty song the ending it deserves. “Today (Can’t Help but Cry)” is as good of a conclusion as “Dry Me” is a start. The sharp contrast between the two allows the audience to reflect on the 26 minute journey as they enjoy the Kate Bush-like world Hänlyn creates down the stretch of this final track. A classic indie pop intro is followed by soaring verses. She clears out any distortion in favor of echoing vocals, for a dreamy sound. Hänlyn sings in stride with the music on this track. Instead of looking for a pocket in the mix for her vocals, she floats alongside it. She minimizes the instrumentation of the bridge in favor of those echoed vocals, before bringing it back to ride out the album. She lets the audience admire this soundscape as it fades away, taking her 2023 EP with it. My initial thoughts centered around how many risks she took considering the quality and consistency of her first EP. However, I now realize that for Hänlyn, executing risks comes naturally. She stays within her abilities, and those abilities are responsible for one of my favorite releases of the year. Things like building tension, mid-line tone shifting, vocal layering, and messing around with song structure, are occasional tools for most artists (something to try once in a while for effect). For Gretel Hänlyn they are an integral part of her sound. She is so advanced, it's hard to believe her streaming numbers aren’t higher, but it won’t be long. Of course, there are kinks to work out on this EP, but to me, they feel like the musical equivalent to first-world problems. There is one glaring miss on this album, but there are so many good things to unpack, even on that song, I have no problem looking by it (except when I’m rating). If you haven’t listened to Head of the Love Club please do, and if you haven’t heard of Gretel Hänlyn, you’re welcome. Head of the Love Club is a 9.25/10. Suggested Listening Balance

< Back 2022'S TOP 10 ALBUM'S Honorable Mentions All of these albums are really solid but fell short of the list for some reason or another. However, they are all worth a listen. The Forever Story, JID Melt My Eyez See Your Future, Denzel Curry The Boy Named If, Elvis Costello Ants From Up There, Black Country New Road Dragon New Warm Mountain I Believe In You, Big Thief Fear Of The Dawn, Jack White THE LIST 10. I Didn't Mean To Haunt You, Quadeca Let me start by saying that Quadeca is only 22 years old, yet, he has already undergone a full metamorphosis as a musician. He began his career as a YouTuber and transitioned into making uninspiring and unimpressive rap music. However, something switched in his head; he realized just how important music is to him as well as what he is capable of. His 2021 project showed signs of his capabilities as he began to switch into a wildly different musical space than that of his 2019 project. On I Didn’t Mean To Haunt You, Quadeca has fully arrived. While it isn’t as polished as the remaining albums on this list, he attacks the concept he chose and delivers numerous performances that nobody could’ve seen coming just three years ago. This album is at times touching, even overwhelming, and his dedication and embrace of his vision is what made it all possible. Best Song: "Born Yesterday" 9. SOS, SZA The last few years there has been a specific sub-genre forming somewhere in between pop and R&B. People like Summer Walker, Ella Mai, and Jhene Aiko have all been major artists, but SZA is leading the charge. Because of her position of influence with the blossoming genre, SZA had a lot of pressure on her leading up to this release. In my opinion she has the responsibility of leading this young and popular sub-genre in the right direction. Often artists in this vein of music have a tendency to make enjoyable, but ultimately safe and somewhat bland music. SZA decided to take risks on SOS and it paid off. The second two thirds of the album marks some of her most creative work to date. A few well placed and unexpected features mixed in with her ability to meander across pop-adjacent genres earns SZA the number nine spot on this year's list. Best Song: "Open Arms" 8. Once Twice Melody, Beach House Beach House is well-established at this point. They are experts of their craft and are able to consistently deliver what their fans are looking for. However, they occasionally seem to play it safe. They found their unique sound and are comfortable staying there. This album is a great step forward. They didn’t depart from their bread and butter, however they did improve upon it. We hear different vocal styles and more rangy instrumentals than expected. At a time where they did not need to do anything special, they took good steps creatively to deliver a very well rounded album. If you enjoy gentle vocals and atmospheric production, this album is for you without a doubt. Best Song: "Pink Funeral" 7. age/sex/location, Ari Lennox This is just a great album. Admittedly I did not know much about Ari Lennox going into this album; now, I do. She is a versatile artist with a great voice who feels comfortable in every style she tries on age/sex/location. Right off the bat she reminded me of Erykah Badu and Beyonce. She has the attitude, clever verses, and vocal tone of Erykah Badu on occasion, and she combines that with runs and spoken hooks that Beyonce loves to utilize as well. Ari’s usage of base reminds me of Adi Oasis as well, if you’re not familiar with her and like this album you should check her out next. She is very effective when moving between influences and different styles, and that is a big reason why this album is great. All of the featured artists do their job and the result is a great sophomore album from an artist that can bring listeners together from different sides of the contemporary R&B spectrum. Best Song: "Leak It" 6. It’s Almost Dry, Pusha T I listen to a lot of rap, and there were a lot of great albums this year. However, only one of them was a top ten album. On It’s Almost Dry, Pusha T reaffirms the fact that he has one of the most prolific deliveries in the rap industry. He continued on the roll he started with Daytona four years ago and did so with superstar producers Pharrell Williams and Kanye West. The production has fingerprints of these great artists all over it, but Pusha T makes sure to put his own stamp on it first and foremost. Though it doesn’t quite measure up to the all time great Daytona, it's great to see him in the same creative space four years later operating at that same high skill level. All of the features are good and its ‘worst’ songs are still ones that Pusha T fans will enjoy. Best Song: "Dreamin Of The Past" 5. Gemini Rights, Steve Lacy If you ask a given person what they think of Lacy’s 2022 album they are likely to respond one of three ways. They either have never heard of it, think it's the album of the year, or hate it with a passion. I think it's certainly up there. Steve’s first two albums after breaking off from The Internet, a band where he was the lead guitarist, were interesting but ultimately fell short much of the time. They were cluttered and seemed to need more time to mature into a fuller sound. He was not discouraged. Gemini Rights is a polished and creative album that can be enjoyed by a wide range of audiences. The contempt for this album mostly stems from the vast overplaying of its hit single "Bad Habit". In reality this is not a top song on the album. Though Steve is probably the weakest vocalist of the top five, he seems to be one of the most musically knowledgeable. He has a fantastic ability to cohesively mix instruments that are staples of a variety of genres, such as the trumpet and of course, the guitar. I am excited to see what he does going forward. Even though this was a well rounded album, I think further polishing could place him at the top of his field. Best Song: "Sunshine" 4. RENAISSANCE, Beyonce With RENAISSANCE, Beyonce has completed the elusive perfect three album run. This isn’t to say every song on all of them is perfect, but the evolution of her music and quality of her last three studio releases earned her this fictional honor. Beyonce, Lemonade, and RENAISSANCE are all fantastic, but RENAISSANCE definitely is my favorite. She incorporates elements of EDM and club dance beats perfectly into this pop album. She sings over these beats like it's nothing and nails a style that I never expected her to touch. She had no reason to try it other than it was part of her creative vision. I am thankful for her bravery at a point in her career where she could coast and sell records with ease. That all being said, the only reason this isn’t a number one album is because it has two of the weakest songs on this entire list. On top of that, I never thought I would compile a list like this in which Beyonce’s vocals are second best, but this year they are. That all being said, it's an incredibly bold and well executed album that everyone should listen to if they haven’t yet. Best Song: "VIRGO’S GROOVE" 3. Lucifer On The Sofa, Spoon Spoon. They’re really good and all, but I never thought they would be in this spot this year. If you like rock this is exactly what you need. It has been a while in my opinion, since there was an amazing archetypal rock release. As the album progressed I enjoyed each song more and more. These songs are familiar in the best possible way, as if people have been listening to this record for years. Lucifer On The Sofa is very well executed and curated. It's ten songs and each one of them is different enough to switch things up but not so much that it doesn’t flow perfectly. They have a grimy instrumental feel but the tracks as a whole are smooth and perfectly paced. Britt Daniel’s vocals remind me of Bowie at times because they have significant texture but are easy to listen to and feel elevated. The album flies by. I think this is their best release and the only reason it isn’t in the number one spot is that I just want more than ten songs. Ten is nothing to scoff at but all of the top three are great and there’s just less on Lucifer On The Sofa. I flipped a coin to pick the best song on this album. Then I flipped it for like four other songs. It's so good. Listen to this album. Best Song: "The Devil & Mister Jones" 2. MOTOMAMI, Rosalia Rosalia is a force of nature. If you aren’t acquainted with her yet, get ready. The Spanish singer is the best vocalist on the list this year, and I was blown away by this album. Of the top four, her album is the least cohesive and I saw complaints about the lack of flow and centralized themes. My argument is this: this album is a showcase of the incredible talent that is Rosalia and the theme is exactly that. At any given point you might hear a touching and beautifully performed song followed by an upbeat dance track, and that might be followed by an abstract beat with spoken verses. She is versatile. She is entertaining. She is exactly what pop music needs. In the last few years mainstream music has seen the ride of acts like Billie Eilish, Dua Lipa, and Olivia Rodrigo. As talented as they are in their lanes, none can touch the pure talent and versatility of Rosalia. Is it the most well rounded album? No, but it showcases more than any other album on this list. This is another album that’s so good I can’t pick a song. I will anyway but know that it won’t fully encapsulate everything that she accomplishes on this record. Best Song: "Sakura" 1. Wet Leg, Wet Leg This is the album of the year. Every single song is perfect. I don’t listen to much indie pop, so my opinion is an inexperienced one, but this is the best album I’ve ever heard in this genre. They have great vocals, creative, diverse song structure, and witty lyrics. Listening to them makes me happy, but they have the ability to steer your mood in different directions depending on their well written lyrics. They tell stories both with their words and their instrumentals. With this much talent it's no surprise that they caught a lot of media attention. They appeared on TV and on indie radio stations everywhere, spreading the word about this incredible project. I could go on and on, but I’ll keep it simple. They deliver everything you could want from a group like them. The craziest part? It's their debut. This is the album of the year. Best Song: "Chaise Longue" My closing thoughts are these: If any of these interest you please listen to them. If you disagree with me you’re wrong. If you disagree with the Grammy nominations or winners you’re right. And, this was a great year of music. Previous Next

THE RUNNING MAN By Dawson Sarcona 11/15/2025 The Running Man, directed by Edgar Wright, is the latest in the boom of Stephen King adaptations from the past few years. That being said, this film immediately differs from its counterparts in one major way: This is not a horror movie. Regardless of how you know King’s writing, whether it's literary classics like Cujo, Salem's Lot, Carrie or big horror icons like IT or The Shining, King is known for creating truly terrifying stories. The Running Man, however, is different. This movie is a dystopian action story through and through. While it does include some intense and high-stress situations, the only “horror” that lies in this film is its disturbing resemblance to our current society. This film follows Ben Richards (played by Glen Powell) as he competes on a deadly gameshow that, if won, will result in him winning 1 billion dollars and securing a better life for his wife and daughter. The world this film builds is one of the more interesting put to screen this year. “The Network” (a literal TV network with a name devoid of creativity) owns the government and dictates the lives of everyone in the nation.Because of the way this world is set up, the message from Kings original novel stays relevant in 2025’s adaptation by Wright. The message is simple: the dangers of a world reliant on media and entertainment. Here is where King’s trademark “scariness” comes in. His depiction (aided massively by Edgar Wright’s film adaptation) of this parallel Earth is chilling because it’s not far off from our own. In a time where everyone is heavily reliant on their screens, the thought of a society where those screens watch back and keep tabs makes for a captivating watch. Moving away from the plot and broad strokes of King’s writing, Edgar Wright once again shows audiences why he's one of the most talented directors working right now. Wright has directed many cult classics (Shaun of the Dead and Scott Pilgrim Vs. the World, to name a few), but his status as a director otherwise seems to be underrated. Since I first saw his passion project film, Baby Driver, I've been a huge fan of Wright, and the talent he demonstrates filming compelling action in that film carries through in The Running Man. This movie is, action-packed by definition, full of fight scenes and stunts that rival some of the genre’s best films across the past year. Wright just knows how to properly direct a scene. Even in the moments with the least action, this movie maintains its momentum. In comparison to movies like Mission Impossible: the Final Reckoning, which left me bored from scene to scene, waiting for the next piece of action, this movie fully immerses its audience into the story. There was not a second during this movie that I felt bored or a scene lingered too long. If anything, there were some moments in the film where the pacing felt a little too fast. While it wasn't enough to take me out of the film, there were some moments I wish they’d spent a tad bit more time in. That said, for the most part, Wright uses his time in King’s world wonderfully and tells a wholly satisfying story. Wright isn't The Running Man’s only strength. Glen Powell delivers one of, if not his most compelling performances yet. There has been talk amongst the film/movie culture of Glen Powell taking up Tom Cruise's mantle as the next big action star. Before this film, I was impartial to this concept. But after seeing The Running Man, I can confidently say that he would be an excellent choice to succeed (and even surpass) Tom Cruise. Powell brings life to the character of Ben Richards and makes him very easy to root for, which is important for a movie like this. He balances the comedic range and physical demands of this role very well, and his on-screen interactions with most are very compelling. All in all, the only minor issue I see with this movie is some rushed pacing in the first act. I would rate this movie a 9 out of 10 , and would heavily recommend it to anyone looking for a fun and exciting theater experience. It’s Glen Powell at his best and further proof that Edgar Wright can direct a thrilling ride of an action movie!

Quadeca Has Finally Arrived On I Didn’t Mean To Hau nt You BY: Ian Sherry 11/ 25/22 On November 10, 2022, Quadeca released his newest project I Didn’t Mean To Haunt You. Quadeca is 22 years old. In those 22 years, he has been very busy. He started a YouTube channel in 2012 which has accumulated 1.95 millions subscribers. In 2015 at age 15, he released his first album. His rapping until recently was a sort of side hobby, but in the last few years his focus has shifted to his music - so much so, that when you google Quadeca, aka. Benjamin Lasky, he is listed as an American rapper. His music has always been mildly compelling, clearly drawing from different inspirations at every turn. But ultimately, it wasn’t very good. He mostly employed basic rapping flows and his wordplay, though occasionally clever, was clunky and often interfered with the rhythm of his verses. It felt like his many ideas were constantly stepping over each other to the point that he failed to produce cohesive projects. Something changed in 2021. From Me To You marked Quadeca’s first push at a laser-focused album. Though it still had many of the same issues, the album featured more unique production, new delivery styles, and a more vulnerable approach that allowed him to focus on a more singular theme. It wasn’t impressive overall, but it was a big step in the right direction for Quadeca. That being said, coming into 2022, he had not proven himself. I heard murmurs heading into the rollout of I Didn’t Mean To Haunt You that Quadeca had stumbled into something. There were minimal details, but the consensus of those in-the-know was that something special was in the works. I was interested, but not convinced-- until I heard “born yesterday.” This first single of Quadeca’s 2022 project set the tone for what has become one of my favorite releases of the year. I’ll do my best to explain it, but the truth is you ought to hear it for yourself. “born yesterday” brings raw emotion that he has never communicated before and does it in an epic way. It tells the story of a broken love and it feels like catharsis. One that was long overdue. The pain in his voice is beautiful and it mixes perfectly with the production’s highs, lows and moments of chaos to create a strong candidate for song of the year. “sorry4dying” is a great introduction to the narrative and production style Quadeca chose for his album. It's followed by the second single “tell me a joke”, and the two combined set the tone perfectly for the rest of the record. Their scratchy production is very unique, at its best balancing minimalist styles with an organized clutter to create the intense environment in which Quadeca thrives. The anger and pain is evident in every lyric and his delivery only adds to it. It's easy to see what I mean on these first two songs, and it's clear he feels most comfortable when he is able to replicate this sound throughout the album. The three most unique songs on the album show up successively with “house settling”, “knots”, and then “fantasyworld”. While none of them are perfect, I am thrilled that he tried each of them, and in my opinion, this is the stretch that really cements this album. “house settling” includes the first and most important feature of the album in Danny Brown. The first half of the song is admittedly a little bit messy but its energy does the job of mimicking a moment of intense emotion which Danny Brown puts into words around the halfway mark. His verse is perfect. He shouts out an emotional yet targeted summary of his side of a breakup and provides a nice break from the continuous metaphor with his brutal honesty. It's messy but effective. “Knots” follows it with a continuation of the energy Danny Brown brought to the song before. It's essentially an electronic punk song. It's loud, incoherent, entertaining, and the furthest Quadeca has ever ventured from his comfort zone. The third member of this trilogy, “fantasyworld”, is a complete directional switch. After the sonic intensity of the previous songs, Quadeca returns with his slowest paced song of the album. It's long but doesn’t feel that way. He portrays his pain in the opposite light, instead of the vengeful attitude of the previous songs he just puts his vulnerability on display. It's touching, but more importantly, it is a blatant display of the versatility that I think could fuel a long career for Quadeca. Quadeca finishes the album perfectly. This is a difficult task, especially when trying to complete a narrative like he has on this record. With “fractions of infinity” he returns to a similar vein as “tell me a joke” except this time he has a choir. It has all the same minimalist production and a similar delivery, but this time, it has background vocals and a chorus reminiscent of some of Beach House’s best songs. It finishes with a stripped down instrumental break and a full feature from the Sunday Service Choir. “fractions of infinity” shows not only that Quadeca is comfortable collaborating with yet another style of musician(s), but that he is capable of making it feel like a Quadeca song. The album ends with “cassini’s division”. It is a spoken piece delivered over a collection of different sound bites that come together perfectly to create an eerie atmosphere in which Quadeca can leave his audience. Quadeca decided to finish I Didn’t Mean To Haunt You with nearly three minutes of static on the back end of “cassini’s division”. Though it's an artistic choice that may not please the ears, I think it's a perfect way to show how he felt cut short, and there’s no better way to complete an album than on the artist’s own terms. I Didn’t Mean To Haunt You is the story of a man who’s love meant so much to him that when it was taken, his life ended. The album is everything he left unsaid, told from the perspective of someone who ran out of time. Quadeca put everything into this album in an attempt to fully embody his character and it shows. He even has an hour long video to coincide with the album on his YouTube page if that interests you. I Didn’t Mean To Haunt You is admittedly messy at times, and Qudeca’s vocal performances and lyrical abilities show a clear room for improvement, but ultimately, it's a success. It is entirely written, produced, and performed by Quadeca and his hand selected features. To me, it’s evidence that hard work, talent, and passion are the key ingredients to any masterpiece. In this case it's Quadeca’s masterpiece. Quadeca’s I Didn’t Mean To Haunt You is a 7.75/10.

KID CUDI'S ENTERGALACTIC BY: Ian Sherry 10/12/22 Kid Cudi is a generational artist who has shaped the melodic hip-hop scene of today through his work in the trilogy of Man On The Moon albums and other releases over the last ten years. His newest project, Entergalactic, was released on September 30th in tandem with an animated Netflix series under the same name. The series has been received well by critics thus far while the album brings something different to his discography. The buildup for this dual release was immense. Cudi is an artist who has shaped generations of music listeners and musicians as well. He has saved lives with his relatable commentary on mental health struggles. The world’s number one Kid Cudi fan, Nino Dioso, can attest to this. In his words: “That man literally saved my life”, and “I would die for Scott Mescudi [Kid Cudi]”. Any artist with this kind of impact is bound to have heavily anticipated releases and therefore high expectations. I think Cudi delivered. This isn’t to say he delivered a perfect album – far from it. The high points are impressive, though nothing musically groundbreaking. However, there are some issues. The most glaring is the fact that it feels aimless. Cudi is known for his thematically brilliant albums. This album had a slightly different focus. The only real theme was love and its focus on supporting the animated series falls short. In order to be a chronologically strong album the listener has to understand the full narrative from start to finish. For example, Tyler The Creator’s 2019 experimental and genre-bending release Igor tells a complete story through lyrics and even the feel of the production. Entergalactic doesn’t come close to this level of coherency in its storyline. Kid Cudi also falls prey to the occasional boring song on this album. He has a tendency to overuse his trademarked moaning vocals and lock in on one flow for too long, sometimes an entire song. Both of these can be seen on the song “Can’t Shake Her”. It is repetitive and fails to ever hit the second level it needed to be a widely enjoyable song. It stays in a sort of melancholic rut for the duration of the track and wastes one of the two Ty Dolla $ign features which are at a premium. Songs like “Angel”, “My Drug”, and “New Mode”, all fall in the same category. They show bits of potential at times but ultimately fall flat. Kid Cudi never makes offensively bad songs like other artists, just boring ones. Once he hits his stride though, the good outweighs the bad. The good can be found consistently from the fifth to the tenth track with one or two before and after, however, tracks six through nine are perfect. “Travis Scott would not exist without Kid Cudi” -Nino Dioso. This is not an uncommon opinion, and there is no better example than “In Love”. It has the punchy drums, decisive autotune, rolling synths, and soaring choruses that are responsible for so many of Travis Scott’s hits, except Cudi does it better on this song. It is a fantastic example of how to properly use elements of pop music without selling out to a mainstream sound. Though Travis Scott can come close at times, nobody but Kid Cudi can make a song like this. In that same vein, “Willing To Trust” is another massive success. One of the two singles leading up to the release of Entergalactic, this track features the previously mentioned Ty Dolla $ign, who is known to be one of the best feature artists in the entire music industry. He delivers here. His relaxed yet vulnerable vocals blend perfectly with Cudi’s, and a couple well placed refrains pull the track together into a cohesive and complete Kid Cudi classic. As if these two emotional and vocally elite tracks weren’t enough, Cudi directly follows them with “Can’t Believe It”, featuring 2 Chainz. This song is a big change in tempo from the previous two. Though it poses a slight chronological discrepancy, I can’t complain. Its rolling baseline and higher-paced chorus are a nice change of pace and it leads perfectly into the next song. 2 Chainz delivers one of his signature playfully braggadocious verses to round out “Can’t Believe It”, and just like that it's ready to be sent into any era of Cudi’s music. The hot streak continues into “Livin’ My Truth”. This track, like many of the other successes on this album, feels like a newer spin on a classic Cudi formula. It is a perky beat with a catchy hook and poppy ad-libs. As “Livin My Truth” fades out to a spacy guitar riff, Cudi wraps up what I think might be his strongest four-song stretch on any of his albums. Entergalactic is by far Cudi’s best work of this young decade, though it may not stack up with the first two Man On The Moon albums or the 2018 collaborative album Kids See Ghosts. He put up some of his best solo work since 2010, even if the whole album doesn’t soar to those heights. To me, Entergalactic’s level of creativity falls in the same category as his 2013 project Indicud, but it is much more well-rounded and polished, not quite sinking to the level of Indicud’s weakest moments. Instead, Cudi’s worst efforts on this album just come across as conservative, inoffensive. He doesn’t run into any issues that he hasn’t encountered before other than the clumsy storyline. That said, it isn’t nearly as chronologically inept as fan-favorite albums such as Because The Internet by Childish Gambino. So, clearly, it is possible to make a classic album with a shaky storyline. I didn’t know what to expect heading into this album. I was almost afraid Cudi might start to regress after his 2020 project, which seemed to lack creativity and consistency. He proved me wrong and I’m glad. I didn’t provide a rating for my first review of the year. That is because, frankly, DJ Khaled’s God Did, didn’t deserve a rating. Cudi does. He overcame the oversights in his storyline, as well as some boring songs, by including several classic tracks of different types and a solid crop of songs to support them; all the while staying with himself, for better or for worse. Kid Cudi’s Entergalactic is a 6.25/10.

ENOUGH CHEER: ONE BRAVE MAN'S FIGHT AGAINST SEASONAL SONIC SUFFERING 12/25/23 BY: IAN SHERRY I am Scrooge (in the Groot voice). I don’t like Marvel movies, nor do I like Christmas music. One of the most hotly contested seasonal debates, I always take the side of grumpy opposition, and I have reasons. While I plan to lay them out in an organized fashion momentarily, I have one question for fans of this genre: Do you truly believe, in your merry little hearts, that ‘jingle bells’ are both a tolerable instrument and viable lyric? If so, you're wrong, but allow me to further provide reasons to shut off the radio. I’d like to begin with the disclaimer that there are some acceptable occasions. For instance, you can listen to Christmas music to put you in the so-called spirit within 72 hours of the big day , the same way you listen to a sweatily angsty R&B song to get you in a romantic mood or an mind-numbingly bland Mac DeMarco song to go to sleep. However, it is absolutely required that, somewhere in the back of your mind, you are open to the fact that a creatively negative adjective must accompany your cheer-filled opinion of a given song. Unfortunately, many ignore that requirement. Backtracking: Genres have a traceable and consistent formation process. I’d describe them as ⅓ influence, ⅓ innovation, and ⅓ capitalism. It starts with an artist or group of artists that are influenced by the sound around them. This could be what they’re raised on, what they come to love, or what they’ve grown to despise. As a result, they’re inspired to put their own spin on it, innovation. Once these two key ingredients come together and a new sound is born, capitalism takes care of the rest, packaging and selling their art to the public in droves until a new genre is born . It’s a symbiotic process that combines the beauty of creativity with the necessity of money. Christmas music is certainly a genre, however, it’s unique in its formation. Holidays are rooted in tradition. Tradition is a powerful binding factor. It brings together generations, races, nations; whatever the division, if there’s a shared tradition, there’s a bridge. Because it is such an obviously powerful social phenomenon, money-makers worldwide continually seek to take advantage through the most evident and reliable manifestation of our traditions: holidays. America (where I live, if that wasn’t evident) was founded, populated by, and constructed in favor of Christians. Christ-ians are very interested in Christ. So, in this rich Christian-empowered nation, Jesus Christ’s birthday has become more than a religious day or season. It’s the most wonderful time of the year. That goes particularly for those on the production end of our beloved nationwide money-making arrangement. Naturally this means money flowing into the pockets of the producers. That stretches beyond the small businesses, malls, even Amazon. Yes, it stretches to music. Hence Christmas music. Hence this article. Christmas music, as a genre, is ¾ capitalism and ¼ everything that’s important to music. Is it morbidly naive to assume all artists who have produced Christmas music are focused solely on selling records? Yes. But, even those whose focus lies elsewhere, like the religious aspect of the holiday or joy of the season, still feed 100% into the powers that be. When Donny Hathaway slipped “Th is Christmas” into his 1971 self-titled masterpiece that includes “A Song For You,” among other classic tracks, he probably didn't analyze its profit potential. However, 50 years later, it nearly doubled the streams of any other song on the album, by far holding the number on his Spotify page. Is it a good song? Sure, by Christmas standards. It flourishes big horns at the beginning, before settling into a loungey early 70s groove fronted by one of the purest vocalists of his era, and it’s supported by poppy drums and a piano solo. However, sitting at the end of one of the most emotionally raw, underrated, and era-defining albums of all time, the source of its popularity (October-December) is all too evident. I won’t pretend it's a realistic expectation that an artist’s best music would be Christmas songs, and it’s no mystery why those songs are so popular, but what bothers me most about Christmas music is that, the majority at least, is bad. Unlike my previous set of mostly surface level market-based connections, this phenomenon is more complicated. It all starts with identity. Good music, in every single case, is infused with the artist’s identity. The lack of identity deprives the art of something that, although it may be hard to describe, gives the audience something to attach to. A good, and incidentally similar, example is Christian rock or rap. The artist is so focused on passing the religious identity and putting their faith/faith figure in the forefront, it seems they forget to be themselves. The fact is, your art has to come from you, otherwise it isn’t yours, otherwise it’s not art. Jesus didn’t make “God’s Not Dead (Like A Lion)” by the Newsboys (the first Christian Rock song that popped up on Google). He might’ve made What’s Going On , but he didn’t make that . Pardon my digression. Because identity is so essential to art, artists who have it go further, even if that identity is the embodiment of the mainstream (Taylor Swift). However, the American Christmas has a very strong identity as well. It has its own themes, schemes, even classics. For an artist to enter this space, they often feel the weight of this identity, and the pressure to adopt it. A Christmas album by any artist, we can use Taylor Swift, is sure to have multiple if not all covers. The Taylor Swift Holiday Collection (2008) is four Christmas classics with two Swift originals mixed in. Her originals play as average 2000s Taylor Swift songs, basic structure with an emphasis on the vocals and lyrics that cover the different angles of a past relationship, but wait, It’s also Christmas! This is common in original Christmas songs, the artist attempts to bring Christmas into their world, their sound, but it often takes over and the focus of the song settles in no-(wo)man's-land. What interests me more is the covers. There have been a select group of original songs over the years that struck gold. Someone wrote “Jingle Bells”. That select group has been covered relentlessly and will continue to be every December forever. Very recently (January 2, 2023 ), some awfully wise i ndividual wrote that ‘When done well, cover artists pay homage to the original song while offering their own spin or twist.’ I believe the problem with Christmas covers is this: there are absolutely no faces or names to the original songs anymore and absolutely no pressure to do something significantly individualistic with your own version. Cher’s Christmas is doing quite well this year. She brought in Stevie Wonder, Darlene Love, Michael Bublé, Cyndi Lauper, and of course, Tyga. In a recent interview, she claimed that “It's not your mother’s Christmas album”. I listened (yes, I listened), and I can confirm that it is indeed your mother’s Christmas album. Not my mother, she has great taste. It’s a lot like any other Christmas album, lot’s of jingles, choruses, and opportunities for my cynical eyes to roll. The most unique thing about Cher’s album: the volume. She’s pretty loud. Despite mistakenly naming the album ‘Christmas,’ instead of ‘Cher’s Seasonal Exercise In Mediocrity,’ her fun little features and reliance on the classics will serve her mightily and buy her truckloads more of those sparkly jeans (edgy) she’s wearing on the cover. That’s the formula, plenty of covers, a few originals folks can skip, and an angle for sales. Cher knows it, her label does, the radio does, and if you’re honest, you do too. As I’ve alluded to (or maybe I hav en’t, I never read these things back), not all Christmas music is bad, the concept just sets its participants up for failure. Few can overcome it, but as I ease towards a conclusion allow me to be momentarily positive. I would be remisced (hunted down) if I didn’t bring up Mariah Carey. When you look up Carey on google, aka The Queen Of Christmas, snowflakes fall down your screen. No joke. She completely dominates the season, and I can’t lie, I do enjoy this part. Here’s why she’s been so successful. Mariah Carey came up in a unique pop landscape. As hip-hop and pop collided, lots of effort went into blurring the lines. This era birthed trend after trend. Saggy jeans were sported by rappers emphasizing their streetness and r&b divas (Carey included) straddling the lines of sexy and cool. With the trends came pressures to be adaptable. Carey’s adaptability led to hit after hit. R&b, pop, hip-hop features, you name it, she nailed it. However, Mariah Carey didn’t define the era, it defined her. She embodied it, she took its identity on as her own. So, come December every year, she does the same with Christmas, and she does it better than anyone else. Mariah Carey was the 2000s and Mariah Carey is Christmas. Unfortunately for this seasonal genre, nobody can quite do what Mariah Carey does. There are other success stories in which an artist successfully strikes a balance. The Temptations were able to apply enough of their own identity on “Silent Night” and Stevie Wonder’s “Someday At Christmas” is popular because of how it repackages his social justice lens to fit the holidays. But, at the end of the day, they can’t touch “Papa Was A Rollin’ Stone” or “Love’s In Need Of Love Today” . The balance isn’t sustainable. Here’s what I suggest in place of Christmas music: music at Christmas. Someone close to me insists that their favorite song is a Christmas song despite its complete lack of thematic relevance. I whole-heartedly agree. FKJ’s “Die With A Smile” is a perfect exercise in sonic minimalism. It mesmerizes the listener with a lonely guitar, the occasional snare, synths, and an amplified bass drum. The vocalist repeats one line a few times, and creates a warm environment that no audience could resist. It’s my favorite Genius page ever and I use it to tune my speakers, but what I love most about it is the tone and minimalism which allow it to mean whatever you want it to. To this person it means warmth, joy, and memories. It means Christmas. Merry Christmas! -The Culture Gy re CHALLENGE 1: Listen to this posthumous disasterpiece: "Silent Night" by DMX CHALLENGE 2: Listen to the worst song I've ever heard on WDET: "Shopping" by Joseph Washington Jr.

Forever Howlong: OK, Now Everyone Play At Once! By Ian Sherry 4/16/2025 Black Country, New Road’s newest project, Forever Howlong , is every bit as creatively constipated and authentically heady as their last cult favorite. In 2022 Black Country, New Road struck a 7 on the alt-rock Richter Scale with their second studio album, Ants from Up There . I listened, my head spun, and I moved on. At the time it wasn’t something I felt ready to formally rate as my thoughts didn’t match my friends’ positive ravings, but Pitchfork awarded it a 8.4 (and Rolling Stone currently has not 1, not 2, but 3 stories about Donald Trump on its homepage – just read The Culture Gyre instead). Now, I’ve got 3 years of patience and unwaveringly correct opinions under the belt I’m wearing to this BCNR review; let’s see what they brought. The density of the Black Country, New Road sound is what makes it so polarizing. While the reception of their music has been overwhelmingly positive, confused and overwhelmed appreciation is the dominant sentiment. I believe I’m starting to see through the haze (or hear rather). A true British situation, the BCNR instrumental repertoire includes drums, piano, sax, and a truckload of strings – electric guitar, acoustic guitar, bass, banjo, and violin. In true folk style, they use that litany of stringed instruments to form a steady sonic bed under the rotation of lead vocalists. From there, tradition is thrown to the wind. On Forever Howlong , the budding sextet of creatives leaned into their art-rock sensibilities in the absence of Isaac Wood, the gravitational center of their last sonic system. With their lead singer and strongest guitarist stepping aside, Black Country, New Road has begun to drift further from contemporary song structure. This record is defined by striking shifts within tracks that are dictated more by lyrical content than rhythmic progressions. The West Coast art-pop scene of the 60s and 70s lived by a similar code. Their dramatics were more so the product of free will than the type of musical reasoning BCNR operates with, however, the results are a bit too similar. Dramatic shifts between or within songs, which were a common issue on those LSD records, became an inexplicable normality on Forever Howlong . The stop-and-go is likely intended to draw the listener in, but the overuse of these atypical progressions makes for a laborious listening experience. “Socks” and “For the Cold Country” took years off my life. Luckily, BCNR has the power to give those years back. Just as soon as “Socks” pushed my face in the dirt, the pleasant build of “Salem Sisters” lifted my back up. A refreshingly decipherable and sprightly instrumental, a bit of solid structure, and beautifully done background vocals throughout the entirety of a track is all it took for me to buy into Black Country, New Road 4 songs in. When organized sonic clutter presents itself effectively, the results often feel elevated from an average band’s sound, but a balance is needed. The abstract needs normalcy to define itself, and BCNR checks that box when absolutely needed. Forever Howlong provides just enough straightforward material to anchor the rest of its content, and “Mary” is the perfect example. The instrumental bones are as simple as any track on the record and with that easy synchronicity on display, the group vocalists are free to steal the show as they deliver one of the record’s most powerful performative stretches over the final third of track 6. Some of their best displays of talent came just like that – naturally. On an album where they’ve clearly reconfigured to fill a Wood-shaped hole, it often feels like BCNR is chasing the dragon of bombastic songs like “The Place Where He Inserted The Blade.” The instinct to mimic one’s best work is tempting, but they don’t need to force conceptual complexity to make high level music. That’s obvious on the title track, which affords the rare opportunity for the listener to sit back and experience Black Country, New Road creating without having that creation thrust in our faces. “Forever Howlong” throws zero curveballs, stays within itself, shows just enough life on the bridge, and concludes with a quality finish, all to beg the question: why don’t they approach every track like this? I’ve got two answers, “Two Horses” and “Nancy Tries to Take the Night.” The first dreamily starts with a singular guitar and some lovely voices, then a whistle and a second guitar that continue to lull the listener through the 2-minute-mark when the track begins to come to life. It takes off fully at 3:00 when a firm bassline, dual guitars, and flourishing high keys flood the airwaves in perfect unison for an organically incredible sonic highpoint the likes of which I’d yet to hear across any of their work. The second begins with a 2-minute-long, guitar-forward introduction that gives way to a temporarily Adrienne Lenker-like vocal performance, before the song morphs into a tight, beat-like instrumental that continuously and relentlessly builds on itself before finally relinquishing to a theatrical minute-long vocal conclusion. It’s a ridiculous but inexplicably well-executed example of the musical behavior I’ve been trying to discourage. Sonic maximalism and track-to-track overambition plague this record but result in songs like those, which makes it much harder to condemn the approach. While the pursuit of 10/10 tracks feels forced on the majority of songs, Black Country, New Road is able to justify those pursuits, even within the songs that suffer from them. This record feels like a step back, but not the permanent kind. Wood’s guitar feels fairly irreplaceable at this point, but the trio of vocalists, Tyler Hyde, May Kershaw, and Georgia Ellery, was extremely effective, and their group vocal ability adds more to the sound than Wood’s vocal persona could alone. The balance of instrumental complexity and dynamic vocals led to their strongest work when properly struck, but the many lengthy intros tend to expose a less complex sonic palate that their structurally ambitious songs work to mask or overcome. Further mastery of their many moving parts and a matured understanding of listenability could result in their best record, but a deepened obsession with sonic maximalism and out-of-the-box track development may lead them down a path of creative anti-progress. Black Country, New Road: professional line-toers. Forever Howlong is a 7.6 .

THE BEST ALBUMS OF 2023 1/1/24 BY: IAN SHERRY Last year, I began my Top 10 albums list by making light of the exercise itself. Of course, I wrote the article anyway. It was funny at the time, but a year of growth later I’d like to double down on the initial sentiment. Music is art. It isn’t about competition or comparison. No piece of music means the same thing to everyone, or anyone for that matter. Subjectivity plays such a large role in sensory or emotional experiences. Good music combines those two things and it's unparalleled in that respect. Of course, that’s just my opinion. The same goes for all of the trivial end-of-year lists we see annually. It's an exercise in which people use other’s art to spark a discussion that, while it may champion the work of some, puts down the work of others. It's an inevitable side effect of an entirely misguided dialogue that plagues all fanbases, especially music. When people involve their emotional connections, which are impossible to avoid, bias seeps in, and so does a sort of sickness that divides us. Last year I made a little joke and wrote the article anyway. I made light of a serious issue. This year I am older, wiser, and making yet another list. FORWARD: APOLOGIES TO JID JID is one of the best rappers alive. His flow fits on any song. His bars are conscientious, entertaining, and consistent. He curates great beats and features. He is the complete package. So is his 2022 album The Forever Story . It has songs you can dance to and songs you can tear up to, and, if you’re tired of listing, I’ll get to the point. I left him off of my list last year. Since JID reads every article, I’d like to personally apologize to him, his family who he so beautifully brought to life through his lyrics, and everyone who worked on his album. His album deserved to sit beside Pusha T’s It's Almost Dry , and no rap album released this year touches either of them. Instead, he sits to this day in the honorable mentions. Well wipe your tears everyone, because I’ve decided I’ll never make a mistake again. OK ALMOST THERE I wasn’t joking when I said lists are dumb. One of the biggest problems, aside from what I mentioned previously, is the attachment to landmark numbers (10, 50,100, etc). The focus should be on the albums and their quality not the list itself, and when you set a number you are forced to shift your focus. When debating whether or not to give into the list craze, I decided I wouldn’t set a number. If it turns out to be 10, fine, but so is 6 or 12. The point is that all the albums on this list are of a certain caliber and anything less than won’t receive a formal mention. This year's number is 8, but first, the honorable mentions. Head of The Love Club - Gretel Hänlyn : If it weren’t an EP it’s a lock on my list. Hanlyn took a step forward with her second project in two years and has set herself up to become a force in the indie-rock lane she embodies. The Land Is Inhospitable and So Are We - Mitski : Mitski is one of the best at what she does. On another beautifully crafted album, she explo res new aspects of her s truggles and experiences. It pairs some of the most tender moments of the year with some of the best vocal performances. The instrumentals are filled out and every track is up to the standard she’s set at this point in her career. It’s safe and it’s excellent. Jav elin - Sufjan Stevens: While Stev ens' sound doesn’t inspire and encapsulate me on an every-track basis like it does his fanb ase, it must be recognized. This album lacks major flaws, as it meanders beautifully between clean acoustic instrumental with raw vocals and his muffled s ubdued alternative. Javelin was dedicated to his partner who passed away recently, so he did what he did best again this year: cope. Burning Desire - MIKE: This is the best produced album of the year. MIKE cemented himself as one of the brightest young faces of self -produced rappers. Burni ng Desire is an excellent album from the theme and feel to the features and songwriting. While MIKE left lots of room for improvement, as an MC, he is officially on the map. Praise A Lord Who Co nsumes But Which Does Not Consume; (Or Simple, Hot Between Worlds) - Yves Tumor: As a lat e arriver to this album, it’s clear to me that Tumor has a uniquely defined sound. The multi-influenced new rock on display can be dense, but at certain points, a perfect balance is struck. Tumor also shows flashes of excellent vocal ability. Boiled down to its strongest points this album is as good as any other, and even with its ambition-induced blemishes, I’m a fan. We Buy Diabetic Te st Strips - Armand Hammer: No rapper, aside from Danny Brown, has performed on JPEGMAFIA production as well as this duo. With a strong presence on every track, they craft strong listening experiences even in the dead space. The features are excellent, the theme is strong. While it falls short of my big list on the basis of pure enjoyment and excitement, it's easily clean enough to be your album of the year. 8. Michael - Killer Mike Killer Mike is an excellent rapper. His work with El P as Run The Jewels is niche defining and extremely influential. H is profile as a solo rapper however is largely underrated. Kendrick Lamar said, on “Hood Politics,” if we really cared about lyrics Mike would be platinum. He’s right. This is the best written album of the year. Killer Mike rap s about every aspect of his upbringing, what’s brought him this far, and what he returns to. While it doesn’t have the juice of some more exciting rap projects, it has moments that are as touching as the Mitski album and stretches of rapping that best any other MC on this list. He also bests André 3000 and Future on “SCIENTISTS & ENGINEERS,” which has been rightfully Grammy-nominated. A project this strong will always find its audience, feel free to be a part of it. Best Song: “SLUMMER” 7. 10,000 Gecs - 100 Gecs: The king and queen of hyperpop strike again. After debuting with 1000 Gecs in 2019, the duo slipped away, releasing little truly original content until this year. This is understandable considering the pressure their initial success applied. Now, four years later, they are one of the most respected and influential groups on the underground and new generation of electronically inclined musicians. This album only further cements their place in the industry. The quirky and sonically combative debut was fantastic, but this is cleaner. This album is a great time, but buried under the jokes and wild p roductio n, there is periodically excellent song-writing and expertly done samplework. They dip into different genres like ska on “Doritos & Fritos” or the death metal finish on “Billie Knows Jamie” , and continue to expand the definition of a ‘gec’. I have zero complaints, and although this generally lighthearted style of music may be limited in a broad field like this, it's absolutely worth your time. I’m sure it will surprise you in some way. Best Song: “Hollywood Baby” 6. SCARING THE HOES - JPEGMAFIA & Danny Brown I don’t remember a collab album exciting its targeted audience as much as SCARING THE HOES . Two giants in the alternative hip-hop community, Peggy and Brown have teased this record for years. The reaction when it was finally confirmed was similar to dropping a chunk of food next to an ant hill (nerds came crawling from every corner of the internet). They weren’t disappointed, and there’s a reason this will sit atop many end-of-year lists. Both artists have some of the wittiest, tongue-in-cheek writing in the game, and excel on abnormal, even abrasive production. I had questions concerning the fit between JPEGMAFIA’s cluttered instrumental style and Danny Brown’s robust cadences. It works. They sample any and everything and rhyme about any and everything. Combining subtle rhythms with cluttered percussion, then laying relentlessly paced verses on top, they refuse to let the listener off the mat. Mixes packed as tightly as these can fall flat, lose their focus, or become difficult to listen to at all. However, these are the best in the business, so we listen and learn instead. The theme is strong. It's entertaining from the first second of audio down to the song titles and the album cover, which is my favorite of the year. These two guys have created a universe in which they can do whatever they want, and this year they welcomed everyone else in. Best Song: “God Loves You” 5. Let’s Start Here. - Lil Yachty Skipping all the easily obtainable backstory, Yachty is a rapper and producer who’s made a career off mild autotuned rap and recent low-profile rolls in major album production. This year, he released an electronic/grunge/hip-hop fusion album. Fusion really is the right word for once. He tapped into his influences, which are apparently various, and stepped into his own world. “The Black Seminole” is my favorite first track of the year, providing a shock to his audience and hope to his former detractors. He only provides his fans with more from that point on, whether it be supplying one new concept after anoth er or introducing Diana Gordon to the mainstream. For someone who was previously unconcerned with the mental/emotional aspect of music, Yachty traverses a variety of moods and topics. The main theme is creativity and the crime committed when it is limited. A man of his word, he didn’t limit himself at all. He incorporated his signature autotune into a genre that was previously unfamiliar with it to my knowledge. In doing so he not only etched his own niche, but brought his fanbase into it. This kind of project is career-defining for artists and a golden opportunity for listeners to expand their horizons. Is it perfect? Definitely not, but it is the most impressive concept and undertaking of the year, and his talent was enough to craft a fantastic album. Best Song: "BLACK SEMINOLE" 4. Did You Know That There’s A Tunnel Under Ocean Boulevard? - Lana Del Rey Lana Del Rey is polarizing to say the least. People can’t agree on things from their favorite album of hers, to their favorite era or personality, or even the validity of her entire career. However, with polarization (and consequently high stakes) come occasionally big results. Sitting beside JPEGMAFIA and Danny Brown with the best rollout of the year, Del Rey set the bar high and lept over it. While I like this album more than the meat of her fanbase, I believe I have probable cause to crown it her best. The songwriting is compelling as always with an added layer of focus. She sings with every bit of emotion she ever has, with the added flashes of positivity on “Let The Light In” . The features are perfect. The world is complete. The sound is well-rounded and shows off every aspect of her skill. She sings over a variety of instrumentals, even beats, and delivers one strong performance after another. She elevates her emotion-laced crooning beyond the likes of Boygenius or Peter Gabirel (they both released albums, that wasn’t a random pull) by keeping the audience on their toes. That brings me to the key I’ve been flirting around. Del Rey has always had the abilities to engage her audience, lull them to sleep, wake them up, and make them cry. But this year, she did all four simultaneously, and threw in a smile for those who really listen. Best Song: “Margaret” 3. Lotus Glow - Adi Oasis As I men tioned in the review, Adi Oasis has arrived. The artist formerly known as Adeline began her solo career five years ago. After sitting in the lofi r&b lane for a few records, she began to branch out. She embraced her funk roots and put her skills as a bassist in front beside her uniquely polished vocal presence. I have been waiting for her for a bit now to take a leap forward. Lot us Glow is that leap. The album is simply a grouping of great songs. It is home to great vibes, flawless instrumentals, and great songwriting. It's clean and accessible, the perfect introduction to an underrated artist. She balances funk and r&b in a happy medium that few artists can fully embody. It’s difficult to categorize her, and without any serious innovation, it takes skill to create that scenario. Sitting at 49 minutes, it is the perfect length, and with only a few weak points (one largely due to a sub-par feature) it's an easy album to finish in one sitting. It’s not the most inventive, but her execution is excellent. “Dumpalltheguns” should win the Grammy for song of the year for the way Oasis pushes her anti-violent message (instead she’s not nominated at all). Speaking of songs, the sign of any great album is that you can’t pick a favorite. I tried anyhow, you should too. Best Song: “Multiply” 2. Wallsocke t - underscores: This year has supplied numerous intriguing genre-bending albums. This is another. Combining hyperpop with indie, roc k, or whatever else they want, underscores killed it this year. They strike a great balance between organic instrumentals and computer. Where 100 Gecs feels like they assembled their beats from the sonic equivalent of the recycle bin (and I love them for it), underscores curated a warmer, more intentional sound. Despite the unique sound, bolstered by the variety of moods and focuses, this album is very accessible. Unconcerned with the restrictions of a genre label or being tied to an overspecified thematic objective, they just made music. Music that is fueled by a teetering balance between angst and amusement, great choruses, some of the best samplework of the year, and well executed song concepts, Wallsocket flies by in 54 strong minutes. This band has plenty to build on and plenty to come. Last year Rosalía landed in my number two spot, and I made a point of emphasizing she had room to grow. The same goes for underscores as both artists took calculated risks, embraced their abilities, and got the most out of them. I’m excited to see the concepts they explore as they move forward because, from a purely musical standpoint, they already stand above their peers. Best Song: “Johnny Johnny Johnny” 1. Desire, I Want To Turn Into You - Caroline Polachek This was easy. I spent months overthinking who would hold the number one slot. I heard this record by the former Chairlift front-woman when it came out and immediately penciled it in. However, when I returned toward the end of the year, I realized just how strong it is. She created a sound so distinct and enveloping you really do feel a part of her world. In many respects, she excels like Yachty did. They create their own sounds with epic highs and execution down to the smallest details. The difference is there are no gaps, no skips, no minute lapses on Polachek’s record. On top of that, she holds the crown for best vocal performance I’ve heard this year, and it's evident from the first track. Here’s a little secret: every album starts with the first song. I’m serious though, it sets the tone, and that is the ultimate privilege and pressure as an artist. You have the ability to tune the listener's ear and steer their attitude from the second an album starts. Track 1, “Welcome To My Island,” is perfect. It outlines her edgier take on 2010s pop production while leaving the door open for innovation on songs like “Sunse t” and paving the path for anthems like “I Believe” . The features are minimal and seamless. The lyricism is intriguing. The album is full of superlatives down to the cover and name itself. I love it all, you will too. Best Song: “Welcome To My Island” To my friends: I listened to Slowdive, George Clanton, and Sampha. To the NFR Podcast: I listened to Mick Jenkins, D2x, and Kipp Stone. To Anthony Fantano: I listened to Jeff Rosenstock, Jane Remover, and Sexyy Red. To Pitchfork: I listened to Noname, Aamarae, and Wednesday. I even listened to Mac DeMarco. What I haven’t done is read anyone else’s lists, and I’m looking forward to it. This was mine, thanks. Happy New Year!

11/3/2023 BY IAN SHERRY THREE PIECE VOL. II On October 13: Westside Gunn released And Then You Pray For Me . MIKE released Burning Desire . Troye Sivan released Something To Give Each Other . Westside Gunn embodies a very special lane in contemporary hip-hop. His unique, adlib-heavy committee rap combines with semi-organic instrumentals for a truly recognizable sound. He combines Buffalo NY pride with themes of grandeur like high-society fashion, which thrusts him further into his niche. He is the one of the key faces of an off-center breed of hip-hop artists that includes Action Bronson , Freddie Gibbs , or Gunn’s longtime collaborators Benny The Butcher and Conway The Machine . It’s hard to understand Westside Gunn’s world from the outside. Luckily, he invests his time and talent time fleshing it out for the benefit of his audience. One listen through Pray For Paris or Hitler Wears Hermes 7 should do the trick, as will a listen through And Then You Pray For Me . Because Gunn has settled so specifically on a sound, it’s reasonable to assume you know what’s coming stylistically. He’s consistent, and if you enjoy his style, chances are you’ll come away with at least a few favorite tracks from every album. What really makes a Westside Gunn album at this stage in his career is the thematic exploits and the collaborations. He delivered in both categories in 2023. Artists flaunting their lifestyle is absolutely nothing new, however, it’s cool when he does it. With consistent references to Paris Fashion Week and a variety of globetrotting ventures, Gunn displays himself as a man of international intrigue and his world as something straight out of the movies. The addition of DJ Drama , who recently brought Tyler The Creator into a similar realm, sets that tone early on, reenforcing Gunn's ability to construct an album. Composing cohesive albums and replicating his creative, yet formulaic sound are certainly accomplishments, however, the strongest moments of this new release involve new faces. Aside from the usual suspects, several artists supplied great features: JID , Rick Ross , and Denzel Curry to name a few. All three of them excel in featured verses, and Westside Gunn excels at accommodating them, especially Curry. The best, most unexpected success is “Chloe” featuring Ty Dolla $ign . To be clear, Ty is quite possibly my favorite feature artist, but I didn’t envision him here. His mark on track 12 is immediately clear. He harmonizes with Gunn throughout his verse, then gives his own bars. The atmosphere of the song is different than anything else on this record, and the sonic smoothness, which Ty Dolla $ign always brings, takes it to another level. That’s just one song though. The biggest contributor on this album deserves his own review: Stove God Cooks . I’ve seldom seen someone so underground make such a big impact on a big name record, a la Mr. Fantastik . He raps like an expert in different styles and cadences, doing whatever the song needs on all five of his features. “KITCHEN LIGHT” and “1989” are my favorite, but if you listen to this album and see Stove God Cooks’ name under the next song, just know it'll be good. On Then You Pray For Me, Westside Gunn put emphasis on his belief that music is more than its face value, it's art. He backs that up. Granted, it’s not a perfect album, there are misses. But, this is how you construct a 21 song album. It moves along nicely with both diversity and consistency, while delivering surprising successes. I’m very pleased, and while there’s nothing too innovative to boost its score, it’s my favorite rap record of the year thus far. Am I biased? Yes, but consumption without preference is impossible. Westside Gunn makes music to please his audience, and as a member of that audience, I’m more than satisfied. That makes this a success for me. I’ll leave you with a Stove God Cooks lyric, “Then West turned me from a rapper to an artpiece” (“Babylon Bis”). Then You Pray For Me is a 8/10. MIKE is making a push to join the next generation of influential rappers from New York. Much like the other Bandcamp success stories, his influences are rangy. Bandcamp is a music listening alternative to the typical streaming model, meant to more directly support the artists. Artists like Bjork and Radiohead re-released their music there, industry legends like Waajeed reside there, and other musical acts like Car Seat Headrest , Quadeca , and now MIKE have seen growth through the platform. It is a pro-artist attitude that draws musicians to the site. That attitude is responsible for a wide variety of creative results, levels of success, and quality. Variety can certainly be found on Burning Desire , and the record’s high points should secure MIKE the respect and standing within hip-hop he’s pursuing. MIKE is a sort of studio do-it-all, but he has one area that needs improvement. He can rap, but the best performances don’t take place until the end of the record. I recommend “Golden Hour” and “Let’s Have a Ball” , and I’d like to highlight the latter. The last song on the album, track 24 is built on a spacy instrumental that places MIKE’s rapping in center focus. He lays down a clear and patient verse, feeling more comfortable on the mic here than anywhere previously on the album, and sticking to the same cadence but allowing himself subtle pauses. He raps with a laid-back swagger that gives the audience the choice of where to focus their attention, without fading into obscurity behind the instrumental. Unfortunately, and this is my biggest issue with MIKE: his vocals often disappear on this record. MIKE is a production machine, using heavy samplework and audio filters to create impressive soundscapes, but his rapping can’t always keep up. He feels like he’s just trying to hold pace, other times his energy doesn’t match the beat. On top of that, his flows often are unchanged for the length of songs. With production as creative as his, there’s pressure on the performance to be equally entertaining. That’s where JPEGMAFIA or Danny Brown excels; I eat up their verses. While he isn’t a bad lyricist, I can’t digest MIKE’s lyrical content on an empty stomach. To be fair, the majority of his rapping isn’t horrible, but the discrepancy between production and vocal performative ability stands out. This doesn’t kill the album by any means, but it puts a ceiling on an artist that feels like he shouldn’t have one. I’m confident he’ll improve, the flashes are potent. Album construction is very important to me. I review albums subjectively and score albums holistically, and MIKE has given me a lot to work with. This album, despite its flaws, has such highs that it could’ve been an album of the year candidate. Unfortunately, it’s 24 songs long. If it was 35 minutes instead of 50 this is a different conversation. He does a good job of keeping songs at reasonable lengths, but it is still a dense listen. Density, in this context, means there’s no time to come up for air. The audience is forced to take in every second of every song for the entire 24. Density in itself isn’t bad, in fact, Marvin Gaye ’s What’s Going On (the greatest album of all time), is extremely dense. However, Marvin’s masterpiece is 9 songs over 35 minutes with zero wasted space, zero misses. This ain’t that. Aside from the length though, MIKE seems to know what he’s doing. The introductory and final tracks masterfully guide the audience in and out of the album, the sole interlude is on point, the majority of the features are fantastic, and the song placement and transitions are well-executed. This is the work of a veteran, but after a quick google search you’d see, like I did, that MIKE is 25 years young. I was very critical in reviewing this album. That’s because it deserved it. Burning Desire is the best produced album of the year, bar none. It’s so good that I couldn’t do it justice through description; you need to hear it for yourself. Music I can’t pretend to properly describe is rare, and for that alone it deserves mentions in the end-of-year conversation. It has its weaknesses that limit it in ways comparably successful albums aren’t limited, but, its high points are undeniable. Burning Desire is a 8.5/10. Prior to this Troye Sivan album, I only knew one of his songs, and I don’t like it. The judgment I passed following my brief introduction to Sivan was that of another perpetuator of the dying pop standard. The critical success of the whiny male vocalists, simple instrumentals, repetitive choruses, and predictable builds, that defined a generation of pop music, is coming to an end. The monetary success will be more stubborn, but that too will fade without the support of critical voices. It is the nature of cultural cycles; they turn over and new eras defined by new artists roll in. It seemed to me that Troye Sivan would be one of many swept out with the tide. While I can’t rule that out, his 2023 album Something To Give Each Other makes me think twice. Many artists lose sight of their vision when they overcomplicate things. Troye Sivan, on the other hand, must have complexity. Without it, he is like any other artist. Luckily, I learned he has the ability to set himself apart when he chooses. Vocally and lyrically, he is nothing unique, but when he alters his delivery he can set himself apart. “Rush” is the first example. The upbeat dance track thrives on simple and clear verses, however, what makes the song for me is the chorus. The washy group vocal creates an atmosphere and his solo refrain audibly pulsates, creating a sonically mesmerizing effect. It elevates an already catchy track, and that’s what pop music needs. Vocal effects can also save an otherwise nondescript song like “Silly” . There are various species of vocal tampering across the album. I’m no production expert, but pitch and volume changes, audio filters, and classic autotune are all noticeable additions. Autotune in particular is very polarizing. Many mainstream pop acts avoid it, especially if they fancy themselves pure singers. That’s why someone like Post Malone exists: he chose to embrace autotune and cultivated an audience who ‘doesn’t normally like rap’. The truth is Malone is nowhere near rap, but the association is there. Troye Sivan doesn’t shy away from an unconscious affiliation with hip-hop and I appreciate that, however, I need more. For every positive experiment on this record, Sivan has an equally negative failure to branch out. For example, he dips into EDM at times. That’s a genre that suffers from simplicity and repetition, but he is able to take it further on “Got Me Started” . By beginning with the Bag Raiders ’ “Shooting Stars” sample, he hooks the audience before laying down the classic EDM drum beat. From that point he keeps layering the instrumental and showing different looks vocally to keep it fresh. It’s a well executed song. But, he also visits the opposite end of that spectrum with a song like “Honey” . Aside from a very basic and lonely EDM beat, his vocals feel uninspired. He relies on the energy build, and while that aspect is executed to an extent, it falls flat if the audience isn’t hooked in the first place. Everyone is allowed a miss or two, but in Troye Sivan’s position it’s crucial that those misses don’t come at the hands of creative shortcomings. Something To Give Each Other has been very well received. I understand why. It is one of the cleaner records all year, and it still ventures into somewhat unexplored territory. However, in comparison to the album I reviewed just above, it’s beyond safe, more like secret service protected. I just cannot get on board with that. I’m not asking for the next musical renaissance, I’m asking for something I might not hear in the sock aisle at Target or the Starbucks bathroom. Sivan delivers at time, making it more perplexing and frustrating when he doesn’t. That said, even with the flat verses, uninspired production, and choruses I can sing before I hear them, there are strong moments on this record. I hope he keeps heading in the direction of tracks 1, 3, and 7. Those aren’t the only successes out of the ten, but those songs will set Troye Sivan apart and could earn him a spot in the new era I believe is approaching. I’d be happy to have him. Something To Give Each Other is a 5.5/10.

Before The World Blows BY IAN THOMAS SHERRY 9/18/2026 On August 28, in cahoots with The Alchemist, Erykah Badu released her first studio album in 16 years, Before The World Blows . On September 11, 2026, I had the pleasure of seeing the duo live. SETTING THE STAGE It’s been a decade since Ms. Badu’s cell phone-centered concept EP, But You Caint Use My Phone (’16), and her digitimaterial focus has only sharpened in the time since (yes, I made that word up). If you’re lucky enough to see ‘The Abby & Al Experience’ live, like I have, you’d immediately see what I mean. The set consisted of two beds on the far right and left connected by a circular cushion that stretched the back perimeter of the stage, all white, kinda freaky. Two spotlights switch on, and there they are – Abby n Al in their respective beds, Erykah Badu outfitted in red heels, a white trench coat, and a blonde wig, which she’d chuck, and The Alchemist in the boyish black hoodie – speaking to each other ‘on the phone,’ hatching a plan. Quickly, The Alchemist retreated to the platform hidden at the top of the set beside his dark-dressing-DJ counterparts, and the beats began. SOUND REASONING The lines between Abby and Al go back to a wannabe Alchemist selling weed to Badu’s mentor and career-breaker D’Angelo and follow the gyre of neo soul to its current resting place, in the palms of women like Ms. Badu. Her hands have been anything but idle in the years since soul’s sound slipped away. If you caught the two-part New AmErykah series (’08, ’10), or her last LP, you’ll notice Badu’s increased interest in digital hip-hop production. Each record was en vogue, impressive for an aging genre-crossing solo artist, but each aged quickly. Met with the task of creating an updated, lasting product and continually interested in marrying analog hip-hop and modern digital production, Abby went to Al. THE GOODS They played the album in order (with bonus tracks interwoven), starting with the ethereal (Track 1) “Echoes.” As the album chimes and whirs to life, Erykah Badu’s singular aesthetic descends upon this decade of music. Lyrically, she comes out muthafuckin firing: “Ah, if we can't agree on the God we pick / Then, my God / Let's at least agree on this snare and kick / (Red, yellow, black, white, or brown) / Oh, if you can't love the one you with / Ah, then you ain't her God, mm / (Red, yellow, black, white, or brown) / Ah, John Lennon said / “They treat women like the n- of the world,” yes, he did / (So watch how you trеat your girl) / Ah, 'cause the future looking odd thеse days That's on Tyler, Frank, and Earl .” This opening lyrical rampage is more musically dynamic than your Spotify streaming quality can capture; but live, as the synths soared, beat lurched, and Badu wailed through her autotune I was met with a bombastic opening track (only rivaled by Action Bronson’s “Live From The Moon” in my concert-going experience). 7 minutes later it gives way to (Track 2) “I Just Play A Part.” Initially my favorite, and certainly the most climactic song on the record, the first of two Westside Gunn features consists of purely gun sounds for effect as the Clintonian techneo anthem roars to life. Badu picks a cadence and rolls with it for two minutes, until she runs out of bars and resorts to a scream solo that rips at the fabric of the track until it splits and the beat switches for DJ Creole Princess to spit a silky verse. (Track 4) “Witch Doctor” was this record’s lead single and the first look at Abby and Al’s sound. The lurching bassline’s rumblin nicely backs Badu’s mumblin and the simple but syncopated melody allows the entire track to swing in cadence with Badu’s words, before giving way to a hand drum solo which she performed alone at center stage to the crowd’s excitement. The stop and go effect of “Witch Doctor” was something to behold live. The crowd, including myself, floated entranced by her witchly wordplay, and by the end I knew all the lyrics. The sentimental being that I am, (Track 6) “Next 2 U,” which samples Mobb Deep’s “The Realest,” plucked my heartstrings on first listen, and has since burned itself into my brain. “I-IIIIIII wanna smoke blunts with you” too Erykah. (Track 7) “Love Me Not” details the uncertain progression of a relationship before giving way to a tape of Ms. Badu getting her booty waxed – thrilling stuff really – but it was easy to see why she chose to go a different direction for this portion of the show. In place of Track 7, The Alchemist descended to perform a medley of “Life Is Beautiful” and “Hold You Down” (both covers of originals he produced). FLASHBACK When Al was done, attention returned to Abby and her soundboard at center stage. She starts, 'You know, they say 90s babies were born with an irregular heartbeat… and it sounds like this,' - dundun duuuun, dundun duuuun – the first notes of the iconic, immediately recognized, “On & On.” As the crowd revved to life, Erykah Badu, filling with the energy and spirit of her youth as it poured out of the crowd back into her, began to deliver by far her most authoritative, studio-similar, and frankly legendary pair of performances of the night as she medleyed into “Didn’t Ya Know” with ease. When I saw Erykah Badu tour Mama’s Gun a year ago, in the climactic confines of the Fox Theater, she delivered every individual performance with the aforementioned moxie. Not only did this year’s venue, Freedom Hill, lack any sonic containment for her vocals, this year’s album doesn’t feature any such performances. To avoid belaboring my point, allow me to state with absolute certainty: Erykah Badu is 55 years old and holding back (no doubt conserving energy for the arrival of aliens). Badu returned to the tracklist and concluded her flashback with a mashup of (Track 8) “Breezy” (the album’s toughest listen) and “Bennie And The Jets” for the concert’s most surprisingly fun moment. (Track 9) “Abracadabra,” is a good interlude. (Track 10) “To The Moon (Plan C)” features Steve Lacy, who brings his sound to Badu’s record with the same grace she visits his newest release Oh Yeah? The three-way fusion between the sounds of The Alchemist, Badu, and Lacy, all of which are unique and individually decipherable, ought to be an intriguing listen for any music fan. Well-grouped features, Thundercat is next. (Track 11) “They Ain’t You” isn’t the album’s most exhilarating track, but the transition between Lacy’s sound and Thundercat’s bass is clever, but it drags on as TC tracks tend to do. (Track 12) “What The People Say (Apostle 1)” picks up the pace and Badu shakes off the mumbles, ramping up into the fastest-paced rap performance (Track 13) “Hot BiBi (Apostle 2).” Another well-intentioned pairing, but the best bars had yet to come. (Track 14) “No I.D.” captures a true freestyle feel as Badu names legendary DJs over the most quintessential Alchemist beat of the record. It was fitting then, to feature Westside Gunn for the second time, laying viscous flexes over the creepy-crawly instrumental and Erykah Badu’s sweet hook “Ain't nobody fuckin' with the K-I-D (No) / Big ball bangin', need no ID (Doot-doot-doot-doot-doot, ah) / I'ma get a beat from No I.D. (Mm, woo) / Ain't nobody fuckin' with the K-I-D (Yeah) / If Alchemist don't come through for me / I'ma get a beat from No I.D. (Woo).” That’s taste folks. (Track 15) “I Know That Man” mutters Earl Sweatshirt, before stating blankly atop the beatdrop “Everything is not a joke,” at the beginning of the album’s best verse over The Alchemist’s most emotionally charged beat only to give way to this chorus on gospel-style-repeat: “I, wanna be seen / as good / in the eyes of that which made us.” It brings tears to my eyes, even in listening to write this article. Now for the final time, check this shit out: “Too much dopamine can make a man mean / Dimethyltryptamine make a man dream / Ozempic and promethazine make a man lean / Mars' daddy Jay Elec', make a bitch real mean / Turn into a meme, make a big scene / Broadcast it on the whole block, live from the black box / Phone call, liberation or entrapment? / Mercury in retrograde, at midnight all was well / But suddenly the box became engulfed with a beam of light / Somebody gettin' some pussy, tonight.” Is your jaw on the floor? Mine was the first time I heard Ms. Badu rattle this off for a teaser at last year’s show, and so were the jaws of any fan who hadn’t heard (Track 16) “Black Box” before last Friday’s concert. Oh, and the second verse is just as good, so give it a listen and yours may be too. My name is Ian Thomas Sherry, but I’m Mr. Badu if she’ll have me. Before The World Blows is an 8.9.