WALK WITH ME (2) 9/17/2023 BY: IAN SHERRY I Don’t Know If I’m A Dog There’s this rapper named Drake , and he’s reached my last nerve. I woke up this morning to finish off my Teezo Touchdown review. Unfortunately I was sidetracked by the news regarding Drake’s upcoming album For All The Dogs . A few weeks ago, the second most streamed Canadian artist of 2023 announced he’d be releasing his eighth studio album on September 22. The excitement was, of course, evident all over social media. Drake has remained in the center of the industry for a decade now. He has leveraged the perfect mixture of palatability, swagger, industry firepower and occasional skill to amass one of the most widespread and dedicated fan bases in the world. So, what does he give those fans? A delayed release. The new date: October 6. Well, at least this gives me room to knock out my top priority articles before deciding if I’ll give Drake the time of day. I recently wrote about the importance of album releases in my review of Earl Sweatshirt and The Alchemist ’s Voir Dire . Allow me a brief call-back (to this article ). Album releases are the trendiest way to energize a fanbase for new music. The rollout of a new music release should be tailored by the artist to appeal directly to their unique fanbase, and it should fulfill one objective: adding value to the fan’s experience. For a true artist, making art is the foremost pleasure, followed by setting the stage for its reception. Now let’s compare that approach to Drake’s For All The Dogs. I don’t hang out with Drake much these days, so from an outside perspective this doesn’t feel artistic. His line of reasoning, which is logistically reasonable, is that he needs to finish his tour with 21 Savage to allow more time in the studio. He doesn’t want to deliver a substandard product. My question is this: was he planning on releasing a substandard product on September 7 when he announced the original date? I’m reviewing Teezo Touchdown’s debut on my other browser tab. I could expect this kind of indecisiveness from him because he’s never released a full length album before. But this is Drake’s 8th studio album. Number eight. Drake is the most popular rapper in the world, and he certainly knows what he’s doing. If he really thought the original date would work, he wasn’t considering quality. If he didn’t think it would work, he just crossed a line by stirring up the public and his die-hard fan base, only to postpone for the sake of grabbing some headlines and building more suspense. By manipulating his audience in this way Drake has violated the purpose of the album rollout. Either way, Drake knows better. Now that my bone’s picked, I'd like to address the music. I’ve been labeled by some as a ‘Drake hater’. I disagree. I think he just does a lot of things I don’t like. In fact, I’m hoping and praying that this album will be great - I want to be won over. Drake’s albums often feel rushed or bloated, which is understandable when you’re under pressure to satisfy an audience so large and hungry. The last Drake album I enjoyed was 2017’s More Life , but I drew the line at 2021’s Certified Lover Boy . First of all, what kind of a title is that? The cover wasn’t any better, and shockingly, neither was the music. Too many features, too little effort. Drake was looking to do big numbers, and he did. He always can, from his Virgil Abloh-dedicated record that he dropped unannounced, to the 21 Savage collab that he’s touring on right now. What I need from him this year is to lock in, ignore the hype, forget about the charts, and make great music. His lead single doesn't give me a lot of hope: “Slime You Out” features SZA and is a typically unconvincing and formulaic performance from a rapper who knows he’s safe. However, there’s still a lot to be excited about for this record. For me, it starts on Travis Scott ’s Utopia . “Meltdown” is one of the better songs on Scott’s latest record, due in large part to Drake’s verse. He delivers it in an aggressive whisper, providing a convincing level of intensity that we’ve been missing for years. But his audience deserves more. I also need more L il Yachty production, he’s on fire in the studio these days, and he’s a member of the production crew on For All The Dogs . If you’re familiar with Yachty’s 2023 album, or his growing list of production credits, you should be excited like me. For All The Dogs should also benefit from the relationship between Drake and Nicki Minaj . The long time friends and collaborators have produced some of their catchiest work together: “Only” , “Truffle Butter” , and “Make Me Proud” come to mind. Drake’s reunion with Travis Scott went very well, I expect his reunion with Nicki Minaj to hit hard as well. I expect a good album, I expect fans to receive it on the 6th of October, and I expect Drake’s son’s drawing skills to take leaps and bounds forward in the upcoming years. (For All The Dogs cover art by Adonis Graham) The stage is set - it just keeps moving. Stay tuned for more insights next month… Cover art for Drake's upcoming album For All The Dogs , by Adonis Graham

WALK WITH ME 8/13/2023 BY: IAN SHERRY Walk with me for a moment. Or rather, jump, with me, into a world where music is nonverbal. There are no vocals. Conversations discussing the greatest musicians of all time don’t include Prince or Aretha Franklin. Instead they focus on the giants of the ‘classical’ music era or the pioneers of Jazz. Genres like rock and roll or hip hop, genres which rely on a balance between instrumental and vocal rhythm, don’t exist. At least they don’t exist as we know them. Celine Dion works at a coffee shop, Marvin Gaye has recently taken a step back from his lengthy yet local career as an activist for civil liberties in the greater Washington D.C. area. You’ve n ever heard of Elvis Presley and you don’t need to have an opinion on him. Rodriguez was able to retire just a few years earlier from his factory job on Detroit’s west side and Marshall Mathers’ relationship with his mother withered to an uneventful conclusion at the hands of bitter yet mild-mannered and mutual avoidance. I could go on. You love music, as you should. It may be at the center of your life. You might listen to it every night with your family over dinner, or as you work through your days. Maybe it puts you to sleep every night or wakes you every morning. It might perfectly encapsulate a feeling you can’t otherwise explain, or make you feel ways nothing else does. You might even go as far as to say it's the most important thing in your life, that if you couldn’t hear you couldn’t go on. And that may be true. But even then, you would have no idea what you’re missing. It’s a crazy thought right? Vocals are an intrinsic part of what we know as music. Not all of it, but at this point, to me, it’s more noticeable when a track doesn’t have vocals than the reverse. There’s no point in attempting to pinpoint the invention of ‘singing’ as we know it. Instead, I offer the assumption that it can be traced back to before the human race reached its current genetic resting place. It’s inseparable from the human experience. Lyrics are responsible for the basis of much of the world’s shared culture, and the entirety of old-school educators’ beloved Classics Department. (I’m a fan too, don't get me wrong). Lyrics are not only a musical luxury, they are a mankind essential. They tell stories, plural. They have their own message (ideally), but beneath that they tell the story of whichever world and worldview birthed them. Whether it be a world of po litical turmoil, a world of prosperity, a world of famine or economic depression, a world of emotional depression, or a world seen through the eyes of love. This world is delivered through the filtered consciousness of the writer on paper, then again through the voice of the performer. Whether it be the same person or not, there are several stops on the road to the audience’s ears, but all trace back to their perception. Their point of view. Instrumental arrangements can deliver excitement, composure, emotion, and co untless other equally important feelings. But, one thing they simply cannot deliver is a point of view. This makes the most important job of the vocalist to deliver that exactly. A point of view. Otherwise, you’re doing nothing a powerful bassline or horn solo couldn’t deliver in its own right. Otherwise your voice is no more than an instrument, one with organic flaws and inconsistencies that Robert Cray’s guitar and Dizzy Gillespie’s trumpet don’t possess. Those flaws are less justifiable when the innately human component, that is perspective, is absent. This brings me to my daily union-supplied diss: Mac DeMarco. Believe it or not, I value my time on God’s greenish Earth, yet I still decided to listen to 9 hours and 30 minutes of Mac DeMarco. I did so with the intent of writing a review on his lengthy 2023 album, but a day later I was so severely mentally and emotionally beaten I withdrew in an attempt to salvage faith in mankind. Could I have written a lengthy Applebee’s Yelp-style revi ew? Yes. Could I turn this into that in an instant? Yes. But, because this is a sort of love letter to music, like that text you send your friend at 3:00 that is unintentionally received as concerning instead of wholesome, I’ll be prompt. Mac DeMarco barely says words, and when he does, they add nothing lyrically and little to nothing rhythmically. It’s neither helpful nor welcome in my book. No thank you Mac. However, it does make me appreciate real vocalists. Take D’Angelo, and I’m thinking Voodoo specifically. His best album, in my opinion, might as well be an instructional manual for what Mac DeMarco attempted to assemble without unboxing the directions. In the year 2000, aided by Questlove on Drums and a long list of heavy-hitting studio artists across hip hop, jazz, and r&B, D’Angelo headed the production for his brand new atypical r&b sound. Voodoo focuses almost exclusively on finding and holding grooves. Much of the time, the vocals come across as a sonic afterthought, there to decorate the sound. (“Untitled (How Does It Feel)” is the exception). However, the lyrics don’t get a break just because they aren’t at the musical forefront. There is no better example than “Devil’s Pie” which I believe to be one of the best songs of this young century. Instead of attempting to go in depth at the risk of failing to do D’Angelo justice, I’ll opt to encourage you to, please, listen for yourself. While you’re listening, if unpacking lyrics isn’t your jam (music pun), you could imagine D’Angelo is the first person you’ve ever heard sing over what you previously knew as music. Imagine how you’d feel as the worlds of poetry and music collide. Imagine the weight this new combination might carry. You could even compare it to any track of Mac DeMarco’s musical boot camp or perhaps your favorite instrumental tracks. The difference is palpable, because good vocals add something that no other instrument can: a point of view. Thanks . P.S. Here is a short, semi-random, list of songs I consider to have perfect vocal performances. “Hope She’ll Be Happier” , Bill Withers “Change” , Big Thief “Pink Matter” , Frank Ocean feat. Andre 3000 “Save The Children” , Marvin Gaye “Nude” , Radiohead “Never Dreamed You’d Leave In Summer” . Stevie Wonder “Heaven - Live” , Talking Heads “That Feeling” , Durand Jones

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!

30 Years of Definitely Maybe 9/16/2024 BY: IAN SHERRY On August 30th, 1994, Oasis released their debut album Definitely Maybe . 30 years later, sometime in the days approaching the anniversary of their flagship LP, the Gallaghers let news of their reunion trickle out. That makes this the perfect time to review this deluxe reinstallment of their debut. It’s the very nature of the reunion that peaked my interest. As I journalistically searched for the date of their announcement, it became clear that the news was largely the result of the pop culture rumor mill, with eventual confirmation from the formerly feuding Gallagher brothers. This brand of brit-pop shenanigans is reminiscent of another time. Who doesn’t look back fondly on those massive crowds that surrounded The Beatles , or the tabloid culture of prime American rock & roll? I love Oasis playing into the insatiable passion that humans have for both gossip and music, because it harkens back to that perfect balance between those passions and the pure obsession that fueled rock music in its prime. In fact, Oasis’ talent for retooling British Invasion era music and culture is responsible for much of their notoriety and critical acclaim. Often recognized as a beacon of real rock in a transitional era, it’s fitting that the first track on their debut record is titled “Rock ‘n’ Roll Star” . Staking their claim perhaps? In that very first song you can find a lot of album-spanning tropes, most notably the pace. They immediately establish themselves as a high-octane rock band, with wailing guitars that often act as the secondary focus, boldly supporting the lead vocals. Liam Gallagher mostly sits atop their wall-of-sound style instrumentation, occasionally stepping aside for older brother Noel on guitar, setting a clear pattern for most of the record. Their beefy sound falls just short of relentless, which, depending on the audience, can either capture the listener’s ear or prevent them from resonating with any one part of the song. Therefore, to make their music more digestible, it’s essential to create space within the song structure and the sound itself. Given that Definitely Maybe was a debut record, I’d say all in all Oasis does a solid job of creating breathing room, employing slight differences in pace between vocalist and the band, allowing brief instrumental interjections within the verses, and making the small yet consequential choices needed to customize individual songs. The Beatles-like backing vocals on “Shakermaker” and “Supersonic” are subtle, but by singing a single rising note, they change the landscape of the sound. The vocal filter and flourishing drums on “Bring It On Down” help separate the different elements of the song. Even the extended reverb on “Cigarettes & Alcohol” , which creates just a moment of space before jumping back into the sonically packed second verse, goes a long way towards avoiding the pitfalls of repetition, a tool they use routinely. That kind of attention to detail is what elevates this debut record above those of their talented counterparts. Oasis was indeed a talented band. Unrelenting guitar performances by the Gallaghers litter every song, Tony McCarroll serves as a strong, yet tame presence on drums, and the group’s ability to systematically assemble a complete product is evidenced constantly. For example they build the instrumental backing for “Shakemaker” one piece at a time, rumbling from the tapping of drum sticks to a heavy rock sound in an instant, a la Led Zeppelin . I am truly a sucker for a good instrumental build, however Oasis’ best band-work on this record lies in their breakdowns. On any given song you can hear them prioritize one element of the chorus, either instrumental or vocal, as they begin to subtract other components. The results can vary from rhythmically atypical, like “Rock ‘n’ Roll Star”, to catchy and repetitive like “Columbia” , with most tracks giving way to Noel Gallagher’s always-sturdy guitar. Their ability to start and finish songs effectively gives the record a tangible flow from one track to another, adding to the collective experience. While their instrumental palette on this record is limited in comparison to their later work, and that does put an undeniable limit on the versatility of the sound, their points of emphasis in the structure of the instrumentation make for a cohesive listening experience they’ll never quite replicate. Familiarity. In my 19 years of life I’ve come to understand if there’s one thing people like, it's what they already know. No wonder Oasis triumphed so immediately in the states. In the UK (I’d imagine) there were plenty of bands trying to strike the balance Oasis came initially equipped with, but in the US of A, they weren’t such a common breed. The evidence of punk rock’s unavoidable influence, which may have been overly familiar across the pond, could in theory, have gone unnoticed or felt more exotic here. In practice, a song like “Live Forever” certainly benefits. The most popular song on the record holds that title because of its familiar American Rock influences - hard to miss especially in the guitar solo. With this familiar instrumental foundation, the pure Brit vocal performance blends in seamlessly and Liam Gallagher comes across as an approachably quirky frontman, instead of tardy British invader. Familiarity can be a curse as well, one Oasis will become all too familiar with in the following years via the commercial excesses of “Wonderwall” and they had to wrestle with on this record as well. They establish their MO so immediately on the first 2 tracks that equally strong songs of a similar hue like “Columbia” or “Slide Away” can lose their luster. It’s a demon Oasis battles on this record and every release that follows, driving their development as a band, and in part fueling the heated disagreements that eventually got the best of them. Reviewing Definitely Maybe - 30th Anniversary Deluxe Edition retrospectively - and it really is a retrospective review of the original since the deluxe edition offers nothing more than cleaner mixes and instrumentally thinner versions of the same songs - it's impossible to ignore the evidence of Oasis’ final form. More tender and nostalgic songs like “Digsy’s Diner” and “Married With Children” get more popular in the post alt-rock era, and the band joins that trend with some of their biggest hits not long after. The slightly softened Oasis didn’t come without skillful advancements, with elements such as the piano on “Digsy’s Diner” emerging as strengths within their evolving sound in the late 90’s / early 2000’s. Like many debuts before and after them, Oasis would never be the same band they were in 1994. They’d never be more punk, more Manchester, than they were on Definitely Maybe ; just like Nirvana would never be more raw, more Seattle than they were on Bleach , and Led Zeppelin would never be more blues, more London than they were on Led Zeppelin I . It’s not as much of an issue as it is a reality, but this anniversary provided an opportunity to live in a different reality, and I thoroughly enjoyed it. Definitely Maybe is an 8.7. Definitely Maybe - 30th Anniversary Deluxe Edition isn’t worth scoring separately.

THE BOYS, IN FULL WRITTEN & ILLUSTRATED BY: DAWSON SARCONA, 5/28/2026 2026 marks the release of many new superhero projects, but in one case, it also brings the end of a 7-year superhero series, The Boys. As someone who was around age 11 when The Boys first released, I wasn't a day-one fan of this series. However, about three months ago, I decided to binge the whole series (and its spin-offs) for the first time. S eason One Season one of The Boys starts with a bang, immediately dropping us into a world that's, at first glance, not too different from other superhero universes we've seen on screen. But as the season goes on and we dig deeper into the world of The Boys and the Vought corporation, something crucial happens. This show begins to encapsulate the media dependency and celebrity idol structure of American society in a way I've never seen a TV show do. On its surface, The Boys is a story of a group of misfits, criminals, and ex-military members taking revenge against a group of corrupt superheroes. But the show is so much more. It breaks down American media, propaganda, and how powerful figures can control so much of what we see. Since the early 2000s, directors have been trying to figure out how to depict superheroes more “realistically” with Christopher Nolan and Zack Snyder taking their own cracks at it, but in my opinion, none of them come close to what showrunner Eric Kripke achieved with season one of The Boys. With a cast of very lovable, and in some cases very hateable, characters this show perfectly balances its comedic moments with serious and scary ones. Plus, Antony Starr as Homelander, especially in the last few episodes, flexes his acting muscle in such a way that rivals Heath Ledger for the best villain performance of all time. Season one has it all: decent action, comedy, a love story you can root for, a pure-hearted protagonist, a revenge story, and an ending that satisfies the emotional arc of its characters while leaving us on an immense cliffhanger. Season one of The Boys is one of my favorite seasons of television ever, a 9.5 out of 10. Season Two While initially starting much slower than its predecessor, this season builds upon itself very well, leading to an explosive finale that perfectly knots any loose ends from the first two seasons. Season two introduces a new character, Stormfront, who is an excellent addition to the series as her relationship with Homelander compels further descent into madness. The best parts of this season are series highlights, and it houses some of the most intense and chilling Homelander moments. The characters continue to grow, and we get to see everyone fall into their roles more. When you start a series its your job within the first season to set up who each character is and why they are that way, but once you get to season two, you get to really play with these characters. We know all of the core characters, so now we get to see them interact with each other and watch their dynamics develop. Seeing Hughie and Butcher on a more equal playing field, constantly arguing over the morality of what they're doing, is a great development rather than the mentor/mentee dynamic they had in the first season. This season is funny, more action-packed, and a great part two that enhances season one’s story. That being said, it does have its faults, the first two or three episodes being a bit of a drag. They're necessary to set up the rest of the season, but I wish they had a little more going on. Also, for at least half of the season, Hughie is in a depression, which makes sense for the character but darkens the show as Hughie is the only unwavering light and the heart in The Boys. In the end, like I said, this season starts bleak but it picks up a lot with some amazing prizes that bring it to an a 8.5 out of 10 for me. Season Three This season is hyped up as the best of the series by most fans of the show, and while I'm inclined to disagree, it is still peak television. This season gives us a lot of good things like Hughie and Starlight finally together, the Introduction of Soldier Boy, and the infamous episode “Herogasm”. The majority of the most iconic moments in this series stem from this season, and for good reason. I love how this season explores Homelander as he grapples with being on his own. In both seasons one and two, he had a woman that he clung to and directed all his affection and attention towards, but as we see him deal with the loss of Stormfront, he begins to truly unravel. Homelander is at his best, or I suppose worst, in this season. He is utterly terrifying, and it seems like they laid out some scenes purely to show off Antony Starr's acting chops. Jensen Ackles as Soldier Boy is a great addition to the show. He is a constant flow of hilarious (yet very offensive) one-liners, and his interactions with Hughie and Butcher are great television. As opposed to the gloomy season two, season three feels the brightest to me. The Boys are employed by the government, so they have funding and (for the first time) aren’t hiding from the law, and that lends a sense of growth for them as a group. Hughie has my favorite arc this season, however, as he obsesses over saving Annie (Starlight). This results in a great feud between them that is resolved in an awesome moment during the season’s final battle. This show is really great at executing good action or shocking moments that also serve their characters on a really emotional level, and this season has some of the best examples. We also get the introduction of TEMP-V, which allows both Hughie and Butcher to temporarily gain superpowers. This is a great way to continue upping the stakes in a natural way and allow for these characters to get in more intense scenes without having to use plot armor to keep them alive. One of these intense scenes is a fight between Hughie, Soldier Boy, Butcher, and Homelander during the episode “Herogasm,” and it is definitely one of my favorite scenes in the entire series. It's so well choreographed and put together that it outshines almost any other fight scene in the show. Here lies the problem I have with this season: Episode 6 “Herogasm” feels like the peak of the season. It's a bizarre, wildly explicit episode that ends in this awesome action scene, and it completely outshines the actual finale, which left me disappointed closing out the season. Still, the battle between Homelander and Butcher gains an extra layer of complexity entering the finale as they now fight for Ryan's affection, and inserting that emotional backbone does add to the weight of the episode. So while this is not my favorite season of the show, it's close with a 9 out of 10. Season Four Similar to how season three seems to be universally loved, Four seems to be universally hated. Likely because it doesn't stack up to the quality of 3, and that harsh decline makes it seem worse than it actually is. This season makes a choice that works very well for some fans of the show, and alienates others. Season four loosens the reins on its commentary and centers the heart of the conflict around politics. I personally think this is a GENIUS move, and I love the way it is executed. But, I also understand the argument that some plotlines are too accurate, that it's no longer a fun escape. That all being said, we get some great moments this season, but they are fewer and farther between than in the past three. The concept of someone like Homelander dipping his toe into politics is a very frightening one, a pre-made propaganda machine. One of the characters that comes out of this plotline is Firecracker, who is a great addition to the cast and a smart foil to Starlight's character. However, what doesn't work is Butcher's season four storyline. Butcher is dying for a majority of this season and is hallucinating a past colleague of his that basically is the devil on his shoulder. So for the whole season, Butcher is just making increasingly poor decisions and is becoming harder to like. This really bothered me and felt like a disservice to his character, especially as it ends with him killing a mother in front of her daughter. There's just unnecessary tomfoolery in this season. Hughie being tricked by a shapeshifter version of Annie is one such example, but it resolves itself quickly to avoid bogging down the plot. I am a big fan of the way this season ends, with Hughie, MM, and Frenchie all being taken to a Homelander freedom camp, especially because it delivers one of the most gut-wrenching scenes for Kimiko. The ending montage of season four is another one of my top scenes from the whole show, and I was kicking my feet like a wee little superfan watching it for the first time. While this season has more negatives than any others, I do find myself really enjoying the political commentary and other aspects of the show, so it's still a 7 out of 10 for me. Season Five Season five of The Boys just ended this week, and with it, so did the entire series. A lot of people also seemed to have issues with Season 5, but I personally think the 21st-century fan hates how any good show ends. We saw it on the internet with Stranger Things, and now we're seeing it here. This season is a clear improvement from the 4th, while running with a lot of similar commentary. With Homelander and his goons now in positions of power within the government, we start the season in a country run to the tune of Homelander's every request. The people who don't follow him are put into camps and stripped of their freedoms. This is a chilling way to start the season, and it only gets worse from here as Homelander attempts to become a god. This feels like the natural final progression of his character. He starves increasingly for praise, so for him to want to be the literal center of a religion is the ultimate fix. All of the characters are well acted and written this season, including the issues with Butcher, which are completely resolved, leaving season four’s arc to seem even more useless. We also get more of Jensen Ackles as Soldier Boy this season, and while most of his plot lines are blatant backdoor pilots for the Soldier Boy prequel series, Vought Rising, he is still a very welcome addition, and his interactions with Homelander are captivating. This was the first season of the Boys I've been able to watch week to week, and I have really enjoyed being able to react to it as it comes out with the rest of the community. Waiting week to week has allowed for more tension to build and hype to grow in anticipation of how this show would end. One thing I love about this season is that it feels final. It isn't afraid to kill off characters; in fact, it leans into it, killing more than half of its core cast. It carries these values into the finale and gives us a final fight between Butcher and Homelander that will also go down as one of the best scenes in the show. Finally seeing one of the worst villains in all American media be taken down after years of evil is so satisfying, and for it to be done by the hands of Butcher, a man who has dedicated his life to killing Homelander, made it all the better. Further than that, though, my favorite scene in this whole season is the final confrontation between Hughie and Butcher. Since basically day one, Hughie was been established as Butcher's “canary”, the only person with a pure enough heart to hold him back and prevent him from taking things too far. Their entire relationship across five seasons perfectly culminates in this scene where, to stop Butcher from spreading the virus and massacring all supes, Hughie ends up killing him. It's the perfect cap to this show, one last punch to the gut before sending us off to the tune of “Piano Man” by Billy Joel. As the credits rolled, I found myself satisfied. Was it the perfect final season? No. There were some blatant issues, like prioritizing the setting up of Vought Rising and the chase for V1 that added little to nothing. However, The Boys gave us everything we needed from its finale and managed an 8 out of 10. I can confidently say that The Boys is my favorite superhero TV show. The characters are just so likeable, and the ability to break down America and its faults through the lens of superheroes and comic book characters is something I haven't seen before and probably won't see again for a very long time. Yes, this show can be overly gory, raunchy, and all around inappropriate. But it's a wild ride, which, when it comes down to it, is about hope and determination. The mantra of this show is that no matter how dark things get, no matter how many times we fall down, if we get back up together and fight for what's right, we will win. That's an important message for America and the world as a whole right now.

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!

THE ODYSSEY 8/5/2026 - Dawson Sarcona - Ian Thomas Sherry The following is a transcribed and edited conversation between CG reviewers Ian and Dawson about Christopher Nolan's The Odyssey DAWSON: Just starting off, Ian, I know you've read The Odyssey before. Were you a fan of the casting and the performances? Do you think they kind of held up to Homer’s version? IAN: Yeah, well, starting with the story. First of all, you had to tell me the bard was Travis Scott, but I thought that was fantastic, the way that they included that, 'cause that's the way it was told for so long. They hit all the points, obviously. And I thought that the plot moved along pretty well for such a long thing to adapt. You know, I just watched O Brother, Where Art Thou. It's so loose to call it an adaptation of the Odyssey - I mean, I get it's a comedy, but this (Christopher Nolan’s The Odyssey) is right on point and moves along. And yeah, with the casting, I had some favorites for sure, but I'm gonna kick that back to you. Were there any favorite castings or performances for you? DAWSON: I mean, there's a lot of performances getting gassed up from this movie, and I feel like rightfully so. Anne Hathaway did a really good job (as Penelope). And I like the direction Nolan took her character too. But my favorite, and this is the basic answer, 'cause it's the main character, I really like Matt Damon's performance. Really enjoyed just the energy he brought to it. I've seen him in a lot of other action movies like the Jason Bourne films, and they're really boring to me, so this kind of solidified to me like - oh, he actually knows how to do this stuff, because I found his performance very captivating and I like the complexity that he brought to the character. Though Nolan has a bit of… I wouldn't say an issue, but he does this thing with all his characters where he kind of.. makes them extremely noble and tries to make them the most, you know, complex ‘I'm gonna take accountability for everything’ characters. When from what I've heard, in the original Odyssey Odysseus is kind of just like a trickster and is kind of a little bit just like… IAN: -He’s not so apologetic.- DAWSON: Yeah, so I think that that was a good change and I think that Damon portrayed that well. And I also really thought Robert Pattinson shined in his role. I would have liked to see more of his character just being a douchebag because he was good at it. IAN: He is. I went with my sister, and she was raving about how good he was as a villain. And yeah, I totally agree. And like Dawson said, Anne Hathaway was great; she was strong in her performance, you know, that's important in this day and age… So what did you think of Tom Holland’s Telemicus? DAWSON: So, Tom Holland was... Well, he didn't have a bad performance by any means, but I would like to see that they gave him more to do. I am a fan of him as an actor, and I feel like - I say this wearing a Spider-Man hoodie, but I still think No Way Home was one of his best performances, and I would have loved to see him allowed to bring that emotion in this movie. It just wasn't necessary for the character, so like I get it, but it (the performance) was kind of middle of the road for me. IAN: I think part of that is the character, like he's limited; he never even gets to step into the throne room in any aspect, leadership-wise, and his main function in this film was to move the plot along with the cutting back and forth. And I thought that was pretty easy to understand, given I already knew the story, but still it flowed pretty well, so I thought he did well. I enjoyed his performance. DAWSON: We’re there any castings that were distracting for you? IAN: Charlize Theron as Calypso, that was a little strange. Only because I didn't feel like it was well enough introduced, but that situation was eventually explained. It's supposed to be mysterious to an extent, but I also don't know how accurate it is, her living washed up on the beach. That's not how I interpreted reading it. - What about yourself? DAWSON: Yeah, I can agree with that. She just kind of felt like an empty character, just kind of a plot device. And I know that she has more acting chops in her, so maybe it's just more of a writing issue. But yeah, her and Benny Safdie, as Agamemnon, I felt very like he stood out most specifically, probably. With the helmet off, he just kind of gives off, for lack of a better term, dorky energy. IAN: He did. DAWSON: - They spent so many of his shots in the movie, framing him as, like, very imposing and cinematic and a guy that you don't want to mess with. Then like, they have Odysseus speak to him, and he's very soft-spoken and kind of friendly with Odysseus, which I’m not sure if that's how it was in the book, but I would assume that maybe it was not. IAN: I would have expected the character to be, furious, you know, and to have some sort of facial wound from being killed - a crazed warlord that sacrificed so much, and was caught up in his own home, I think, he would probably be more bitter and angry. But we're kind of splitting hairs here, I think, overall, that (oracle scene) was pretty great. DAWSON: This is probably his (Nolan’s) biggest accomplishment. I mean, I think that's fair to say. It's the first movie ever filmed completely on IMAX, which means it was also filmed completely on film, like traditional film, which is not something you see a lot nowadays. And watching it, seeing all the love and care put into it; it's just very clear. Especially when it comes to the practical stuff that they do with the Cersei scene in the pig transformation and in the Cyclops stuff. For perspective, there was a guy in full Cyclops makeup, and then for other scenes they had a full 60-foot Cyclops puppet that they built for the characters to interact with. So it’s stuff like that could have just been blue-screened and CGI-ed, but instead they took the time and really actually made it to the best they could, that is a testament to how much not only Christopher Nolan cares about movies, but how important that stuff still is to making a great movie - and you can really tell when you're in that theater, especially the IMAX theater. IAN: I thought the way that the Cyclops moved was really awesome; it was otherworldly, and it made the whole scene a lot better. That's one of the more famous scenes I was wondering how they were gonna execute it, what it was gonna look like, you know, and it was like a mutant child type-thing, which makes perfect sense because I believe it's a giant and Poseidon’s offspring, so it was pretty wild, and it was the same with Cersei. They could have had her wave a wand and poof them (Odysseus’ men) into pigs, and nobody would have batted an eye, but the idea to kind of go the horror direction, that ended up being one of the more memorable scenes in the whole film to me. DAWSON: I learned the other day that Ithaca, the island that they used for that, is a real island and that's a real castle, and they got permission to film there, but they weren't allowed to build anything, so like they couldn't build a road to get their film supplies up there. So they had to literally airlift and then, by hand, carry like thousands of dollars of equipment up this hill every day to film there. And I think that's just another cool example of the people who worked on this movie really putting in the effort, and I think it shows in volumes when you see it. IAN: This is interesting because it looks really genuine, the castle, and it looks pretty untouched and like weathered. I also thought the plucking of the bow- that was a great moment. They planted that seed early on, and it was pretty cinematic when it did it in the end, so I thought that was pretty cool, and I'm not sure I remember that from the book; I think the book is moreso about being able to execute the challenge, just stringing it and shooting, so I think that was pretty cool. DAWSON: Yeah, and I noticed a few things about that on my rewatch too of like how much that is woven into the story, and it's stealthily. There's a lot of stuff, Nolanisms, just a lot of really interesting details that are just sprinkled in there. Like, for example, a few that I can remember are: there's a song on the score called "Sirens," and it's the song that plays when Odysseus hears the sirens' song, and he's strapped to the, you know, pull in the ship and is listening to it. - IAN: - And it's at the same time; it's just the song on the score that we hear while he's listening to them. - DAWSON: - Right, yes, exactly, thank you. But that song is titled that, but it's technically like him and Penelope's theme in the movie because the only other times we hear it are when he and his wife are together. And so when he talks about the siren song being like “a song of like everything you've ever wanted and everything you ever wanted was something you had and lost,” I think that's just a really cool way to musically tie it into, like, when he hears that song, he's hearing something about Penelope and Telemicus. And going back to Telemicus, another thing is, any time they are viewing his flashbacks of his family, Telemicus is not facing the camera. It shows like a kid facing away from the camera, which is something Nolan does in like all of his movies. IAN: Now I'd like to get to my last big question if you don't have anything else. DAWSON: No, I don't think I have anything else. IAN: So The Culture Gyre is based on a concept, the gyre, which is a shape. Imagine two funnels facing into each other so at one end you would have an open circle and then a point in the center which would be the point of the other funnel going the opposite direction; would you consider this movie to be closer to “the point,” the thing that everybody in film is driving at, or would you say it's pushing an edge in the grand scheme of the film? DAWSON: I think it's interesting with Nolan because he is something - he's someone that all filmmakers kind of strive to be like; he is kind of anointed, almost anointed himself as like filmmaker royalty because he is, I believe, the president of the filmmakers' guild. So a lot of people, they kind of view him as like the one above all, and to be honest with you, he still has duds, he still has movies that fall through, so going into this movie I was excited, but I was not 100% certain, kind of like you are saying. I think the concept for this movie is kind of on that outer circle; it's something that you know a lot of people can do, and a lot of people have made adaptations of the Odyssey, right, and it's a general idea a lot of people have, but it's not necessarily always executed properly. There are so many ways that it can be done, and I think what's great about Nolan is he can kind of bring it into that inner focal point, like that thing that everyone's striving towards, because of the way he's able to direct things. And I think a lot of this comes down to the people going to the movies now who are so much more invested in cinema. I think just because of the nature of social media and how it's heightened everybody's opinions on things you're either going to the movie because you love this movie or you hate this movie, right? Like, there's rarely ever an instance now where someone's like ‘I have no thoughts on this’ and that's compounded by social media with people sharing those opinions. So he's kind of being built up and built up, and I think the fact that Nolan keeps pushing forward shows he's not the type of person who's building up this reputation for himself and just kind of going with the flow. He hasn't plateaued yet. He keeps pushing the bar farther for himself, and you don’t know what his next movie is going to be or when it's going to be, but he's been pushing out movies every three years. Which is a crazy production turnaround, especially considering the scale of stuff he's making. So my long-winded answer to your question is, yes, I think that this movie, especially in Nolan's way of approaching film, is pushing for the center of the gyre. I think the future of film has to be like this; it has to be more people who care, people who are doing things practically and who are trying new things with reliable stories, even if just because there's only so many stories that can be told. I would say the same about Obsession this year by Curry Barker, right? The one wish willow. The monkey paw- that is a story that has been told countless times by countless people, but he sat down, and he found a way to make it fresh, and he put a lot of love and practicality into it, and it was probably the second biggest movie of the year so far in terms of box office success. So yeah, I think right now the future of film, the focal point from that poem is this notion of bringing more originality to movies, and we need to do it out of love and care and not for the purpose of making money for a studio. And it's in the details, but careful detail. IAN: I agree. DAWSON: Yeah, and you know, obviously studios care about money, but I think people - I think studios right now are kind of finding that if they prioritize originality, it benefits them more in the long term.

THE ODYSSEY 8/5/2026 - Dawson Sarcona - Ian Thomas Sherry The following is a transcribed and edited conversation between CG reviewers Ian and Dawson about Christopher Nolan's The Odyssey DAWSON: Just starting off, Ian, I know you've read The Odyssey before. Were you a fan of the casting and the performances? Do you think they kind of held up to Homer’s version? IAN: Yeah, well, starting with the story. First of all, you had to tell me the bard was Travis Scott, but I thought that was fantastic, the way that they included that, 'cause that's the way it was told for so long. They hit all the points, obviously. And I thought that the plot moved along pretty well for such a long thing to adapt. You know, I just watched O Brother, Where Art Thou. It's so loose to call it an adaptation of the Odyssey - I mean, I get it's a comedy, but this (Christopher Nolan’s The Odyssey) is right on point and moves along. And yeah, with the casting, I had some favorites for sure, but I'm gonna kick that back to you. Were there any favorite castings or performances for you? DAWSON: I mean, there's a lot of performances getting gassed up from this movie, and I feel like rightfully so. Anne Hathaway did a really good job (as Penelope). And I like the direction Nolan took her character too. But my favorite, and this is the basic answer, 'cause it's the main character, I really like Matt Damon's performance. Really enjoyed just the energy he brought to it. I've seen him in a lot of other action movies like the Jason Bourne films, and they're really boring to me, so this kind of solidified to me like - oh, he actually knows how to do this stuff, because I found his performance very captivating and I like the complexity that he brought to the character. Though Nolan has a bit of… I wouldn't say an issue, but he does this thing with all his characters where he kind of.. makes them extremely noble and tries to make them the most, you know, complex ‘I'm gonna take accountability for everything’ characters. When from what I've heard, in the original Odyssey Odysseus is kind of just like a trickster and is kind of a little bit just like… IAN: -He’s not so apologetic.- DAWSON: Yeah, so I think that that was a good change and I think that Damon portrayed that well. And I also really thought Robert Pattinson shined in his role. I would have liked to see more of his character just being a douchebag because he was good at it. IAN: He is. I went with my sister, and she was raving about how good he was as a villain. And yeah, I totally agree. And like Dawson said, Anne Hathaway was great; she was strong in her performance, you know, that's important in this day and age… So what did you think of Tom Holland’s Telemicus? DAWSON: So, Tom Holland was... Well, he didn't have a bad performance by any means, but I would like to see that they gave him more to do. I am a fan of him as an actor, and I feel like - I say this wearing a Spider-Man hoodie, but I still think No Way Home was one of his best performances, and I would have loved to see him allowed to bring that emotion in this movie. It just wasn't necessary for the character, so like I get it, but it (the performance) was kind of middle of the road for me. IAN: I think part of that is the character, like he's limited; he never even gets to step into the throne room in any aspect, leadership-wise, and his main function in this film was to move the plot along with the cutting back and forth. And I thought that was pretty easy to understand, given I already knew the story, but still it flowed pretty well, so I thought he did well. I enjoyed his performance. DAWSON: We’re there any castings that were distracting for you? IAN: Charlize Theron as Calypso, that was a little strange. Only because I didn't feel like it was well enough introduced, but that situation was eventually explained. It's supposed to be mysterious to an extent, but I also don't know how accurate it is, her living washed up on the beach. That's not how I interpreted reading it. - What about yourself? DAWSON: Yeah, I can agree with that. She just kind of felt like an empty character, just kind of a plot device. And I know that she has more acting chops in her, so maybe it's just more of a writing issue. But yeah, her and Benny Safdie, as Agamemnon, I felt very like he stood out most specifically, probably. With the helmet off, he just kind of gives off, for lack of a better term, dorky energy. IAN: He did. DAWSON: - They spent so many of his shots in the movie, framing him as, like, very imposing and cinematic and a guy that you don't want to mess with. Then like, they have Odysseus speak to him, and he's very soft-spoken and kind of friendly with Odysseus, which I’m not sure if that's how it was in the book, but I would assume that maybe it was not. IAN: I would have expected the character to be, furious, you know, and to have some sort of facial wound from being killed - a crazed warlord that sacrificed so much, and was caught up in his own home, I think, he would probably be more bitter and angry. But we're kind of splitting hairs here, I think, overall, that (oracle scene) was pretty great. DAWSON: This is probably his (Nolan’s) biggest accomplishment. I mean, I think that's fair to say. It's the first movie ever filmed completely on IMAX, which means it was also filmed completely on film, like traditional film, which is not something you see a lot nowadays. And watching it, seeing all the love and care put into it; it's just very clear. Especially when it comes to the practical stuff that they do with the Cersei scene in the pig transformation and in the Cyclops stuff. For perspective, there was a guy in full Cyclops makeup, and then for other scenes they had a full 60-foot Cyclops puppet that they built for the characters to interact with. So it’s stuff like that could have just been blue-screened and CGI-ed, but instead they took the time and really actually made it to the best they could, that is a testament to how much not only Christopher Nolan cares about movies, but how important that stuff still is to making a great movie - and you can really tell when you're in that theater, especially the IMAX theater. IAN: I thought the way that the Cyclops moved was really awesome; it was otherworldly, and it made the whole scene a lot better. That's one of the more famous scenes I was wondering how they were gonna execute it, what it was gonna look like, you know, and it was like a mutant child type-thing, which makes perfect sense because I believe it's a giant and Poseidon’s offspring, so it was pretty wild, and it was the same with Cersei. They could have had her wave a wand and poof them (Odysseus’ men) into pigs, and nobody would have batted an eye, but the idea to kind of go the horror direction, that ended up being one of the more memorable scenes in the whole film to me. DAWSON: I learned the other day that Ithaca, the island that they used for that, is a real island and that's a real castle, and they got permission to film there, but they weren't allowed to build anything, so like they couldn't build a road to get their film supplies up there. So they had to literally airlift and then, by hand, carry like thousands of dollars of equipment up this hill every day to film there. And I think that's just another cool example of the people who worked on this movie really putting in the effort, and I think it shows in volumes when you see it. IAN: This is interesting because it looks really genuine, the castle, and it looks pretty untouched and like weathered. I also thought the plucking of the bow- that was a great moment. They planted that seed early on, and it was pretty cinematic when it did it in the end, so I thought that was pretty cool, and I'm not sure I remember that from the book; I think the book is moreso about being able to execute the challenge, just stringing it and shooting, so I think that was pretty cool. DAWSON: Yeah, and I noticed a few things about that on my rewatch too of like how much that is woven into the story, and it's stealthily. There's a lot of stuff, Nolanisms, just a lot of really interesting details that are just sprinkled in there. Like, for example, a few that I can remember are: there's a song on the score called "Sirens," and it's the song that plays when Odysseus hears the sirens' song, and he's strapped to the, you know, pull in the ship and is listening to it. - IAN: - And it's at the same time; it's just the song on the score that we hear while he's listening to them. - DAWSON: - Right, yes, exactly, thank you. But that song is titled that, but it's technically like him and Penelope's theme in the movie because the only other times we hear it are when he and his wife are together. And so when he talks about the siren song being like “a song of like everything you've ever wanted and everything you ever wanted was something you had and lost,” I think that's just a really cool way to musically tie it into, like, when he hears that song, he's hearing something about Penelope and Telemicus. And going back to Telemicus, another thing is, any time they are viewing his flashbacks of his family, Telemicus is not facing the camera. It shows like a kid facing away from the camera, which is something Nolan does in like all of his movies. IAN: Now I'd like to get to my last big question if you don't have anything else. DAWSON: No, I don't think I have anything else. IAN: So The Culture Gyre is based on a concept, the gyre, which is a shape. Imagine two funnels facing into each other so at one end you would have an open circle and then a point in the center which would be the point of the other funnel going the opposite direction; would you consider this movie to be closer to “the point,” the thing that everybody in film is driving at, or would you say it's pushing an edge in the grand scheme of the film? DAWSON: I think it's interesting with Nolan because he is something - he's someone that all filmmakers kind of strive to be like; he is kind of anointed, almost anointed himself as like filmmaker royalty because he is, I believe, the president of the filmmakers' guild. So a lot of people, they kind of view him as like the one above all, and to be honest with you, he still has duds, he still has movies that fall through, so going into this movie I was excited, but I was not 100% certain, kind of like you are saying. I think the concept for this movie is kind of on that outer circle; it's something that you know a lot of people can do, and a lot of people have made adaptations of the Odyssey, right, and it's a general idea a lot of people have, but it's not necessarily always executed properly. There are so many ways that it can be done, and I think what's great about Nolan is he can kind of bring it into that inner focal point, like that thing that everyone's striving towards, because of the way he's able to direct things. And I think a lot of this comes down to the people going to the movies now who are so much more invested in cinema. I think just because of the nature of social media and how it's heightened everybody's opinions on things you're either going to the movie because you love this movie or you hate this movie, right? Like, there's rarely ever an instance now where someone's like ‘I have no thoughts on this’ and that's compounded by social media with people sharing those opinions. So he's kind of being built up and built up, and I think the fact that Nolan keeps pushing forward shows he's not the type of person who's building up this reputation for himself and just kind of going with the flow. He hasn't plateaued yet. He keeps pushing the bar farther for himself, and you don’t know what his next movie is going to be or when it's going to be, but he's been pushing out movies every three years. Which is a crazy production turnaround, especially considering the scale of stuff he's making. So my long-winded answer to your question is, yes, I think that this movie, especially in Nolan's way of approaching film, is pushing for the center of the gyre. I think the future of film has to be like this; it has to be more people who care, people who are doing things practically and who are trying new things with reliable stories, even if just because there's only so many stories that can be told. I would say the same about Obsession this year by Curry Barker, right? The one wish willow. The monkey paw- that is a story that has been told countless times by countless people, but he sat down, and he found a way to make it fresh, and he put a lot of love and practicality into it, and it was probably the second biggest movie of the year so far in terms of box office success. So yeah, I think right now the future of film, the focal point from that poem is this notion of bringing more originality to movies, and we need to do it out of love and care and not for the purpose of making money for a studio. And it's in the details, but careful detail. IAN: I agree. DAWSON: Yeah, and you know, obviously studios care about money, but I think people - I think studios right now are kind of finding that if they prioritize originality, it benefits them more in the long term.

Stranger Things Season 5, Vol. 1 By Dawson Sarcona 12/5/2025 Stranger Things Season 5 Vol. 1 has officially dropped, and with it, the end of a decades-long franchise has begun. As someone who has been on the Stranger Things train since 2018, this franchise has been a crucial part of my development as a person. This is hands down one of my favorite TV shows of all time, so the fifth season had a lot of anticipatory weight to it. With this in mind, it's only fair to review this first volume (which only consists of four episodes) episode by episode. Season Five, Episode One: The Crawl A season opener is always a tough task. Especially following a one-year time jump, it can be difficult to write a cohesive first episode that lets the audience know what characters have been up to and simultaneously jump-starts the story for the rest of the season. That being said, this episode does a great job of balancing catching us up and building stories for the future. Dustin’s character arc provides some of the best moments of the season. This episode wavers in the quality of writing from the rest of the season - shaking off the rust. There are a few select scenes that probably could have been cut, as the writing stands out against the distinct tone of the series. Rather than setting up interactions and showing how characters are feeling, it felt like a lot more exposition dialogue rooted solely in just saying things that are happening. All in all, this re-entry into the world of Stranger Things takes its time setting up new character dynamics and leaves the audience with one of the best cliffhangers in the history of the show. This episode is an 8.5/10. Season Five, Episode Two: The vanishing of Holly Wheeler This episode follows the cliff hanger with the previous episode with a cold open that show creator calls the craziest they’ve ever done. With such a strong beginning of the episode, the rest pales in comparison. “The vanishing of Holly Wheeler” feels like the most ‘filler’ of the four this volume. It sets up some important mysteries and furthers the development of the new pairings for this season. Finn Wolfhard (Mike), Natalia Dyer (Nancy), and Nell Fisher (Holly) all deliver exceptional performances this episode. For Mike and Nancy, this feels like a return to leading forms we haven’t really seen since the end of season one. The two siblings working together, bouncing off each other, is something I’ve really missed and their strength is one of the best things to come out of these episodes. This season Mike also seems to fall back into his role as the leader of the party (Mike fans rejoice) For a new character, Holly is a great addition and does a great job fitting in with the environment of the show almost immediately. All that being said, this episode feels the most dragged out and at times feels boring. There’s also an increase in some of the iffy dialogue from the previous episode. Overall, episode two is a 7/10. Season Five, Episode Three: The Turnbow Trap Episode three immediately picks up from the slower pace of its successor. This episode introduces the other new breakout character from this season: Derek Turnbow. This kid is an immediate favorite of the internet - why? He is hilarious. Everything he says is delivered perfectly for the comedic relief needed to bring some light to what has so far been the darkest and most mature season. The addition of kids like Derek and Holly in this season is great because it brings the show back to its roots of being about young kids and monsters, while still being able to tell the stories of our original party and they grow up. Additionally, episode three pulls from “Home Alone” in one of the best sequences of the series. Scenes like that provide some of the volume’s best moments, where we get to see the classic Stranger Things teamwork moments - solving problems in unique and creative ways to defeat a monster. This episode is where the pieces of this story begin to fall into place, and the mystery starts to form. It sets up perfectly for episode four and is a great episode in itself. It’s a near-perfect 9/10 , and it fixes the majority previous episodes’ problems. Season Five, Episode Four: The Sorcerer Episode four is not only the culmination of the volume but, in some ways, a culmination of season 1-4. In this episode, we finally get to see Will Byers step into his own as a character. Since season one, we've been able to see nearly every character grow and develop, and it's felt like Will’s character has been left stagnant. All of Will's victimization and what some would call weak characterization build up to this episode, where we finally get the development we've been waiting for. In addition to this, we get some satisfying conclusions to the micro-mysteries set throughout the volume. The way this episode comes together is something marvelous. This episode defines what a great show is all about in showing perfect character growth, that creates a top 3 scene in the show hands down. To create an episode that tells its own story, bridges the gaps on the rest of the volume and sets up a really excellent arc for the rest of the show is not something that's easily accomplished. This episode does it flawlessly, a true 10/10 and the highest rated episode of the show to date. In conclusion, this season so far is a big success. It feels like a near-perfect continuation of the fourth season’s vibe and a proper upscaling for the concluding season of the series. This show is very important to me and has been for a lot of other people my age; we’ve grown up with it. While it's sad to see this show approach its conclusion, I’m very happy with with its swan song thus far. There are still some moments of iffy dialogue, things that just feel off, which is likely the product of the increased number gaps bridged in the writing this season. It seems with season 5 they may have hit their limit with how much one writer's room can handle while maintaining good quality writing. At this rate, season five definitely resides within the top three of the show! I’d give volume one an average rating of 8.5 out of 10. Given the end of the volume it's clear whatever “fifth-season-funk” may have plagued the writers for the first few episodes is gone, and they're ready to deliver more mysteries, scares, and emotional endings for our favorite characters in volume 2 and 3.

< Back TABS ON TIGERS I Tabs On Tigers Vol. 1 Alex Bregman’s 3-year 120-million-dollar contract became official Thursday, February 13th. In that moment he became the third highest annually paid position player, behind just Ohtani and Soto and tied with Judge, and in that same moment, a bullet was dodged in southeast Michigan. That came following the Tigers’ months-long pursuit of the veteran third baseman. General manager Scott Harris and the majority of the fanbase felt that Bregman would be a concrete solution for a currently uncertain foundation at the hot corner. Harris went as far as to offer a 5-year 170-million-dollar contract that most closely resembled the 7-year 200-million-dollar deal Bregman thought he was worth, but that was not to be. Now, the discussion surrounding Tigers team improvement has shifted to the trade market, but we’d like to offer a more complete synopsis of the most recent developments and current condition of this 2025 Tigers team. The most pressing concern of fans headed into free agency was the left side of the infield. While the starting pitching staff was alarmingly thin on paper last year, it’s hard to argue with the hodge-podged late-season results, plus having the reigning Cy Young offers a certain level of security. Harris addressed it anyhow with the thrifty signing of the veteran (and already inured) Alex Cobb, who’s quietly carried a sub-4 ERA for four consecutive years, and the recent readdition of the flourishing Jack Flaherty. Add a pair of bullpen arms, (one great and one solid) in Tommy Kahnle and John Brebbia, and an assortment of sub-30-year-old starting pitchers – plus Kenta Maeda - competing for a spot at the end of our rotation (2 until Cobb returns) and suddenly this pitching staff feels legit. But still, no signings on the left side. The left side of the infield – the carrot on a stick. Gleyber Torres used to play there, but not since the arrival of better fielding prospects on the Yankees infield. From there, the former 38-homerun all-star’s relationship with his former team began to wash away, and as the impact of that process began to show itself on the field over the past couple seasons, the stream carried him to Detroit. The Tigers front office locked him up for a season at $15k, just half the yearly offering we placed on Alex Bregman’s table. While Torres will have to earn his play in a platoon-heavy infield like he got tired of doing in New York and his overall game doesn’t compare to Boston’s most recent overspend, his offensive upside is that of a player with equivalent homerun power to Bregman. He is admittedly a notch below in most other offensive categories, but just one notch, and the optimist in you might expect a jump in plate discipline given his more veteran role on this team as well as an increase in RBI production assuming he finds himself more central in the Tigers lineup, which still boasts zero established major league left-side infielders. The Torres addition, of course, means a move for the Tigers’ long-term commitment Kolt Keith, but not to third base, his former position. Instead, Spencer Torkelson drew the short end of the stick this winter. The former number-one pick has had obvious struggles at the major league level, showing flashes at times on both sides of the ball, but ultimately scraping his way to replacement level over his first three seasons. With Jace Jung and Trey Sweeney being a part of the miracle Mudhen formula that propelled the Tigers to last year’s post-season and Matt Vierling working in at third, it seems Scott Harris decided the direst situation on the infield was at first base. At least, it was the most easily solvable. The fact is, problems remain unsolved headed into Spring Training, but Baez, McKinstry, Maeda, Hinch’s musical chairs batting order, the hitting coaches, and the away uniforms are for another day. For today, we have a minor leaguer, Trey Sweeney, attempting to prove himself a pro at shortstop. We have an ultra-scrappy yet questionable three-man platoon at third base among the switch-hitting Jung, versatile and athletic Vierling, and lefty-killer Ibanez. That goes with a right side manned by Torres and Keith (perhaps Torkelson against a lefty) to round out a blatantly poor defensive infield. Luckily, they’re backed up by what could prove to be an excellent outfield with premium left fielder Riley Greene, thoroughbred center fielder Parker Meadows, and the looming power threat, Kerry Carpenter, in right field. We also have a rotation book-ended by the lefty Cy Young Tarik Skubal and the potential of a Hinch chaosball platoon in the 5th slot, which will, in theory, allow Cobb to rehab and settle into the middle while Flaherty picks up where he left off and Reese Olsen continues to grow into one of the leagues most underrated young arms. We have a full bullpen and a decision to make at closer. We have a coach with the team’s faith. We have an active front office led by a diplomatic and measured GM with at least some of the owner’s attention and a willingness to trade. We have a lot to look forward to. Previous Next

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.

Anderson .Paak: Freedom Hill 10/5/24 10/29/24 By Ian Sherry On January 15, 2016, Anderson .Paak released Malibu. On October 5, 2024 I saw him perform it live. When I was in 8th grade, I had what I considered a pretty wide-reaching taste in music for a kid my age. Most of my musical discoveries at the time were either handed to me directly from my dad or I found them digging through his Itunes library. I had my favorites - old-school hip-hop, Motown standards, that 4 month Journey kick I had in 7th grade, or every bit of Prince material I could get my hands on - but I had and have a few weak areas as well. One in particular stood out: I hardly knew any new music. In an age before I had access to the unlimited horizons Spotify provides, if it was new and it didn’t get played on the radio (which I generally disliked anyway) then I had no way to hear it. That is until the fateful summer night I heard “Come Down” . I was watching TV with the family when I heard Anderson .Paak’s most energized anthemic song to date being used on some commercial (obviously not a good one because I only remember the song). I casually slipped off to the basement, pulled out my brand new phone and found the song, then another, and another, and the rest is history. The trajectory of my music fandom had changed forever and I knew it. As I listened to “Come Down”, then “Jet Black” , and “Am I Wrong” I fell in love with a new artist, not for the first time in my life, but for the first time all on my own, and that meant everything. Now, a few weeks ago I was blessed with the opportunity to relive that night. Let me tell you about it. I was lucky to latch onto the .Paak train when I did in 2019, because following the acclaim he earned with Ventura , that year’s release, he took the next decade by storm winning 6 Grammys in 4 years and dominating the pop charts as Silk Sonic , alongside the ultimately efficient hit-maker Bruno Mars . The material responsible for .Paak’s eruption onto the scene is some of the cleanest of his career, so its success is no mystery. However, regardless of the accolades, the attention, or even the artistic maturity of his later releases, Malibu remains his best piece of work. At his core, Anderson .Paak is a musician. You can really feel that on Malibu , for which he performed and recorded all of the drums before mixing the rest on his laptop. You can feel the difference in both philosophy and product between .Paak’s intentionally constructed pieces of music on this record and the standard formulaic production that is standard today. While most rap, pop, and r&b producers are looking for that golden hook or sample they can run throughout the song, .Paak spends all of his time searching for grooves. On Malibu, he does nothing but find them, one after another. That’s due in part to the talent Anderson associates with: The Free Nationals (more on them later), Robert Glasper , KAYTRANADA , and Madlib all make instrumental or production contributions to the album as did a cast of musicians and producers that worked alongside other musically excellent acts like D’Angelo , JAY-Z , John Mayer , even Nine Inch Nails . Big names I know, and their individual instrumental contributions are evident on every song in an intentional and impactful way, but make no mistake, Anderson .Paak is the common denominator from which this music emerges. Each track thrives in the coordination of many moving parts and the result is 16 comfortable performances backed by smooth progressions, transitions, and the multi-genred sonic excellence .Paak aims to capture. No album better illustrates his dual prowess as a musician and entertainer than his 2016 record, so naturally, when I heard he was taking one of my all-time favorite albums on tour 8 years later, I couldn’t miss it. THE SHOW As a conscientious objector of arena shows I was happy to hear Anderson .Paak’s Malibu Tour would be gracing Freedom Hill, one of the Detroit area’s better sizable outdoor venues. Maurice Brown came on first as my partna and I traversed the parking lots and concourse. In the vein of his headliner, Brown is a jazz, hip-hop dual threat who performs on trumpet and as an occasional MC. GAWD followed as I found my spot on the hill. The feminine-energetic duo (Good Ass Women Deserve) lives in the wide umbrella that is contemporary r&b and as a result they have yet to settle anywhere specific. Their set, which lasted in the neighborhood of 45 minutes, was a solid performance that showcased plenty musically and got the ball rolling with crowd engagement, a big focus for the entire night. Their live sound was very 80s-reminiscent, but it had hints of house and modern west-coast electronic. They confidently flexed their songwriting with catchy hooks and choruses while performing rigorous dance routines in tandem backed by a bouncy pop-funk band. They bit off a lot and largely executed with energy, aside from some of the more challenging singing. Their modern pop/r&b vocal choices better lend themselves to studio-to-radio arrangements as they proved to be difficult to execute live and raw. Both openers did a great job of prepping the environment for the main attraction, and as they exited and the pre-show playlist kicked on for the last time, the countdown began. The entire production was solid back to front, and it started with the pre-show mix. “Crowns For Kings” , a fantastic contemporary hip-hop collision between Black Thought and Benny The Butcher started playing and immediately put me in a good mood. It’s then that I noticed how mic-heavy the drums were and realized (though I should have assumed) that Anderson .Paak would be singing from the drumseet. The longer I sat and waited the more me excitement grew, and I started reflecting on the performative skill it must require to do what he was about to do. That showcase of instrumental consistency on a pacekeeping instrument in a percussion-centric sound in addition to the vocal exertion of rapping is something I couldn’t wait to see. To me it elevates him to a greater category of lead performing musicians. Some, like Raphael Saddiq brand themselves as musicians on the strength of their creative and compositional skills. Others, say Robert Cray , on the unique strengths of their instrument in tandem with their voice. Then there's those who fit both descriptions - like Stevie Wonder or Curtis Mayfield . It was perfect then, that while I waited to see an artist with a categorically similar skill-set, Mayfield’s “So in Love” suddenly washed over me. The best track on his impeccable 1975 LP is one of my very favorite love songs of all time. From the first note, per usual, I was trapped in the soulful combination of keys and brass, not to mention Mayfield’s signature piano-like guitar that perfectly sets the stage for his uniquely firm yet delicate voice. One of the greatest vocalists in American music, Mayfeild’s ability to stretch his voice to its limit in a sustained fashion was responsible for his heavenly tone, and as the song glided along that’s what I found myself thinking about. I thought about the strength of his vocal control, how he was a true performer in the studio and out, and I felt lucky to soon be seeing a man with similar talent. As Anderson .Paak was introduced, Maurice Brown took the stage alongside the Free Nationals and got the program started on trumpet. As he began to riff on “The Bird” the screen lit up, and finally, on camera backstage wearing a baby blue embroidered suit, .Paak started making his way to the stage performing the first track of his best album. Immediately, the energy, sonic quality, and confidence elevated across the board, and as that sunk in he made his way to the drums. A drummer by trade, .Paak is no stranger to the instrument and he made that abundantly clear throughout the night, rotating between the drums and center stage, and consequently between stylistic personas (the pop-star frontman, the nimble-drumming master of breath control, and the solist-level drummer in a great band). His strong supporting cast made those transitions easy. Starting with track 2, “Heart Don’t Stand a Chance” , and continuing throughout the night GAWD provided the washy background vocals that play a huge role in bolstering the album’s sound. Regardless of who is filling it, the role is essential in that sound, especially in a live setting where precise sonic balance is needed to accommodate a lead singer who drums and raps simultaneously. That wasn’t the only trick up .Paak’s sleeve (which flipped from blue to an identical red version at his mid-show wardrobe change). “The Waters” is one of the smoothest songs on the record, largely because of BJ Chicago Kid ’s vocal contributions, so, to help it translate to a live performance in BJ’s absence, the Free Nationals’ secret weapon Ron Avant stepped in. The band’s keyboardist played swiss army knife all night, painting keys across every track while contributing as an occasional background vocalist, commanding the talkbox to its full effect, and acting as .Paak’s hype-man. Malibu cannot be executed live without that kind of versatility. It thrives in the fullness of its sound, and while .Paak’s rhythmically focused drumming is an excellent addition to their live show, he can’t replicate that music alone. Togetherness was a major theme on October 5th. It was most evident in the way Anderson .Paak interacted with his band and tourmates, but it continuously factored into the crowd interactions and messaging throughout the night. Track 4 stood out in that way, and it was no mistake. “The Season | Carry Me” is the heart of Malibu . Many of .Paak’s strongest album moments through the years have benefited greatly from nostalgia and emotional songwriting. On this two-part song, with the help of Bill Withers , .Paak writes about and reflects on his childhood and the surroundings he came up in. The first half relishes in the triumphant aspect of his journey that began in Oxnard CA, but the later half was the show-stopper, literally. As he concluded the song’s last verse, he cut the track and told a story about his mom. With the help of Ron Avant - his conversation partner of choice- .Paak began to paint this picture: his usually strict mom took him to the mall on his birthday. Since there allegedly wasn’t much to do in the mall then aside from visiting Foot Locker, and young Brandon happened to be in need of some shoes, that’s where they went. That’s where he met his first love - “A grown ass woman?” asked Avant - no, it was a pair of jordans. From there, it quickly became clear to past Anderson and his future audience just how much his mother loved him, as he went on to explain that not only did she buy him the not-so-cheap footwear, she carried him (but more-so the shoes) safely over the dirty sidewalk to the car. It was a sweet humorous story that cleverly culminated with the line “Momma can you carry me?”, the final hook and jumping off point for the song’s outro. How do you follow up a moment like that not half way through the show? Well Anderson .Paak decided to announce this next song was about Jose Rios’ ex girlfriend, and as the band's guitarist stood there speechless for just a moment, .Paak jumped right into track 5. That kind of smooth showmanship was the standard for the duration of the show. Whether it be the washy samples between songs that aided the transitions and kept the performance accurate to the album or the features on screen that ranged from colorful background graphics to what I think was an AI rendition of the Family Matters Theme song with the Free Nationals in place of the Winslows, the show had clearly been carefully planned with a broad audience in mind. As the show progressed into the middle of the album, crowd engagement became even more of a focus. .Paak and co. consistently tried to get the fans to participate in a variety of capacities, clapping, call and response, singing along, pulling out the flashlights, hanging out with DJ Peewee - you know, all the concert classics. He flew through the albums mid-section, still moving between the drums and center stage and performing every performable aspect of the album until it was time for a break. After gliding across track 10, “Room In Here”, which normally features The Game and Sonyae Elise , .Paak and most of the band exited, leaving GAWD and Avant alone on stage with DJ Peewee, a giant projection of .Paak who appeared on screen wearing a black bob wig and some big shades. He tried a bit of awkward pre-recorded crowd engagement before dropping the needle onto his Malibu vinyl and giving way to GAWD and Avant who performed “Water Fall (Interluuube)” . In the moment it felt like a thinly veiled break for the performers, who did deserve a breather, but in hindsight it symbolized the halfway point in the show. While GAWD and Ron Avant held it down on stage, .Paak and the rest of the Free Nationals took a moment backstage to prepare for the daunting second half of the performance. He made it clear upon his return to the stage that the energy levels would rise one way or another in the second half, as the sizable but reserved crowd had been annoyingly sluggish (although attentive) to that point. Immediately they succeeded, as the infectious spirit of “Come Down” asserted itself on the audience. The most popular song on the album mustered some genuine fan participation that carried through “Silicon Valley” , they stayed engaged through the somewhat cathartic “Celebrate” and lastly an energized rendition of the positively spirited finale “The Dreamer” which concluded .Paak's 2016 masterpiece. At that point, having successfully achieved the main goal, a positive high-energy finish to the album, .Paak exited the stage and let his band take over. As the Free Nationals reintroduced themselves and began to perform a few of their best, I reflected on how lucky I was to see that album performed live and how cool it was that I was now watching a great band perform a pseudo-encore despite the crowd not necessarily earning it. It was a good concert experience, and I was satisfied listening to the good vibrations of “Eternal Light” , that is, until they brought .Paak back out. That’s right, after performing the entirety of Malibu, Anderson .Paak came back on stage, this time performing songs from across his discography. I was particularly happy to hear “Make It Better” and “Come Home” from Ventura and “Bubblin” , all three of which were in my initial tight rotation of .Paak’s music. He brought hits from all phases of his career, rattling off song after song including new singles and work from his most recent NxWorries project , all in a pleasantly unrelenting attempt to send the crowd home entertained. He dipped into his Silk Sonic catalog and threw it back for the more long-time fans, particularly with “Dang!” which he dedicated to his late friend Mac Miller who’s featured verse was performed live by Maurice Brown. I felt as though .Paak had taken me and every other possible attendee into consideration by performing a variety that anyone could at some point identify with. That means he delivered. I’ve been to a respectable number of concerts now and the best ones have been those where the audience would die for the artist. Two come to mind: when I saw Aretha Franklin ’s last concert in Detroit, and when I saw Action Bronson in Chicago. The first audience represented a storied musical city coming forward in a big way to see, support, and have their hearts filled by their queen for what ended up being the last time. The second audience consisted of a cult-like group of fans who in many ways emulated the persona of the man they came to see. In both of those cases the artist energized the crowd with ease, but the crowd bolstered the artist as well. That give and take is essential, and .Paak seemed well aware of that. He made crowd engagement a point of emphasis for not only himself but his openers, and while his efforts to cultivate the ideal concert experience didn’t result in the most elite concert crowd experience, any shortcomings fall squarely on the shoulders of those who paid to see him. The kind of work and thought he puts into a performance like that combined with the level of talent he possesses deserves an audience on par with those select few. That's because is an artist on par with a select few - and that late summer night I got to see him live.