GOD DID NOT WANT THIS BY: Ian Sherry 9/19/22 DJ Khaled is one of the most polarizing figures in the music industry. His albums often read more like who's who in popular music than a regular old track list. His newest album God Did is no different. A music tycoon known for producing hits with established stars and dominating the billboard, DJ Khaled is a master of marketing if nothing else. He makes this clear in his newest album which has produced 10 songs that graced the billboard hot 100 including the 47 second intro from Drake. Big numbers and recognition on the billboard unfortunately don’t guarantee good music. In this case they certainly do not. DJ Khaled has a habit of ruining songs that had a real chance of being good with repetition and drawn out verses which he doesn’t bother getting trimmed. Perhaps it is because he relies so heavily on features and is hesitant to step into the other artists’ world. A reliance that is completely unnecessary by the way. It is possible to make a great album as a producer without overloading on features. Kenny Beats did so already this year with Louie, an album I highly recommend. Speaking of good beats DJ Khaled showcases his best one on the second track of the album. The title track “GOD DID” includes an interesting beat and a great verse from Rick Ross. Unfortunately, it also includes an extra thirty seconds of Jay Z which feels purely unnecessary. Perhaps the greatest torture on this song though, is the well executed feature from John Legend at the end. DJ Khaled didn’t stop there though. He also includes the track “KEEP GOING” which includes several decent verses from Lil Durk, 21 Savage, and Roddy Rich respectively. Unfortunately it also includes a repetitive beat that demands the same flow from all three rappers and by the time the third feature rolls around it is unbearable. These songs were close to being good, in a way that's sadder than a completely awful song because the potential is obvious. That being said, it only gets worse from here. There are plenty of songs on this album that aren’t worth listening to, in fact it's the majority, but there are also songs that are ludacris in general. The first is “USE THIS GOSPEL” which features Kanye West and Eminem. This song was released in 2019 on Kanye West’s hip hop gospel fusion album Jesus Is King, which received mixed reviews at best. Admittedly the original release of this song was excellent. It had a feature from one of the greatest rap duos of all time in Clipse and a sultry saxophone feature from Kenny G. This re-release is bad in comparison. It has a painful feature from Eminem and anyone listening, having heard the original, would be tempted to listen to the first one. The most annoying part is DJ Khaled had no hand in the original song, essentially defeating the reasoning for its new version. Kanye himself has released songs over beats he made for other artists following the original release, but at least he made the original beat. There is also a postmortem song from Juice WRLD called “Juice WRLD DID”. The entire song is Juice WRLD and it feels more like DJ Khaled flexing the fact that he has a song with the beloved SoundCloud sensation who passed away in 2019. Suffice to say there's a reason this song wasn't released while Juice was alive. The song is lyrically weak and the hook is repeated far too often because the verses themselves are short and lacking. If it weren’t for the tone of Juice’s voice it would be impossible to listen to. There are a few highlights on the album. There better be with this much talent. DJ Khaled has so many connections that he often slips into different styles of production within hip hop. “THESE STREETS KNOW MY NAME” is well executed even if it isn’t everyone’s cup of tea. It has a beat that continually switches up and exciting features from Jamaican artists Bounty Killer, Skillibeng, Sizzla, Buju Banton, and Capleton. “IT AIN'T SAFE” is another good song. In this case he imitates the current southern rap style with hints of modern Detroit production. Nardo Whick and Kodak Black have solid features and the song glides as well as it can considering the style of production and lyrical flows that the pair of Florida rappers chose. “BEAUTIFUL” featuring Future and SZA and “BILLS PAID” featuring Latto and City Girls are probably the most palatable songs on the album. They don’t do anything groundbreaking but they are solid and I wouldn’t be surprised if they achieve the biggest streaming numbers in the long run. The first benefits from a smooth feature from Future and a perfect chorus from SZA. The second includes fun verses from Latto and City Girls over an upbeat soul sample from Eddie Kendricks. Overall this album is another bloated and overdone example of the pop rap DJ Khaled is able to reproduce every single time. Of course it has its high points, because of the sheer amount of talent, but it is ultimately dragged down by the repetition, ridiculous and cringy themes, and lack of musical creativity. I am sure it will make lots of money and be heard around the US for the next six months but it is important to separate the idea of commercial success from the essential resource that is good music. Someday I hope DJ Khaled can make this distinction. 1/10

RAYE: The real deal BY: IAN THOMAS SHERRY, 5/4/2026 Raye dropped her smashing LP THIS MUSIC MAY CONTAIN HOPE. on March 27, and if you’re just now hearing of her, you’re late. It was Saturday Night Live (which is generally upholding the tradition of quality musical curation on variety shows, Arsenio, Chappelle, all the way back to Ed Sullivan) where I first discovered Raye. That was before her three Grammy nominations, and I was late then. Now, we’ve entered a new era of international pop. My 21st Century Blues (’23) was an ambitious foundational record, the product of Raye’s departure from Polydor Records. I listened to the debut in the wake of my stumbling upon Raye and knew she could do better. The sturdy collection of long-fermented music featured a variety of pop and r&b flavors plus flashes of her tone as a writer, yet despite its critical acclaim (especially across the pond) I found it musically thin and thematically broad. Not to worry, neither of those tropes are present on this 2026 LP. “Intro: Girl Under The Grey Cloud” is an excellent entrance into the most theatrical record I have ever listened to. The music of musical theater, especially when removed from the performance, makes my stomach turn. That is historically, but Raye’s sonic gravitas, worldbuilding, monologuing and all around-performative efforts can be described as nothing short of theatrical, so here I am at the breaking point of another personal precedent. The songstress stumbles from one stormy scene into another as (Track 2) “I Will Overcome” rumbles around. The true intro more-or-less continues the narrative: a drunk gal out on the town, far past anyone’s bed-time, searching for the answers to, well… everything. The focus narrows over the next four tracks. Time to more deeply address the sound I suppose. It’s a bright pacey pop, boosted by a 21st century studio and big band thunder, background vocals and a prancing matriarch at the center of it all. Raye preaches warnings on the (Track 3) “Beware.. The South London Lover Boy.” She tells a precautionary tail over a twirling keyboard/808 hook on (Track 4) “The WhatsApp Shakespeare.” Then there’s the theatrical masterpiece (Track 6) “Click Clack Symphony.” Raye revisits her well of 20-something depression and treats her vulnerability with girlpower. She assembles the gals, “send the call out, send the call out!,” and sets out on the town hoping to lose the inside thoughts outside, using the click-clacking heels as her beat. (Track 7) “I Know You’re Hurting.” must be the day after. This tune is the page-1 example of the triumphant music achievable at the peak of pop. When combined with the wholistically performative sensibilities of someone genuine, spirited and talented like Raye, a pop studio can create tear-jerking moments in the middle of Walmart. HUT. And now a brief advertisement for America’s second son, Jazz music baby. Well, ‘we’ brewed up this mystical instrumental gumbo with European instruments, so I guess it’s only fair that they get a take on it. Still, I often hesitate to consider the big blaring British bands I hear on 007 soundtracks to be jazz. I mean somewhere below “Gold Finger”s hollering horns Jimmy Page was just lurking, playing sheet music, a proper jazz band would’ve drawn that behemoth out, no? But still, the branches of British jazz bear undeniable fruit, Amy Winehouse at the very minimum. “This song is called ‘I Hate The Way I Look Today’,” says Raye. A statement of fact is followed by a beautifully bumbling brigade of similar thoughts as she raps and rambles, in true jazz style, a laundry list of complaints about her physical person. Comedic, relatable, listenable, Raye refuses not to check all the boxes, and this jazzy break at track 9 was a brilliant move to further flesh out her musical chops and back up a big claim from track 2: “And it’s funny, some people say I remind them of Amy.” Call me some people. (Track 10) “Goodbye Henry” begins with another cheekily dejected monologue, the kind Ms. Carpenter dreams to achieve, and I’m feeling frisky so I’ll share: “This is a sad song/ Though it feels happy / It is not happy at all, in fact / It makes me so, so sad to sing this song /But I will sing it for you anyway / This song is called "Goodbye Henry" / And I wrote it 'bout a boy / A very lovely boy/ And his name isn't even Henry/ But I'm just tryna be respectful / We don't talk anymore / He could be next-door and I wouldn't even know /In another life we could have made it /But in this one, well, we let go…” From there the bounding soul track wonderfully lives up to its billing. Raye rides horns, keys and drums like a tricycle and welcomes Al Green at the bridge, a treat for the ears as much as the heartstrings. (Track 11) “Nightingale Lane.” is yet another highlight, this time an Adele-style ballad. Over a pretty generically supportive score, Raye opens up those impressive vocal cords of hers, which she often opts to nimbly control, and wails a well-written chorus. She is comfortable at any pace, dancing through tracks all record long and adjusting with effortless swagger to the speed limit on “Nightingale Lane.” Did we mention that THIS MUSIC MAY CONTAIN HOPE? (Track 12) “Skin & Bones.” shocks the LP back to this decade’s pop pace for a number-1-worthy track. The equally catchy (Track 13) “Where Is My Husband!” stands as Raye’s top-charting song in the US, peaking at 11 on the Billboard. It’s curios that Raye’s exposure in the American media has yet to convert to top-10 radio play; the disconnection between fame and fortune has indeed sewn itself into modern media arenas. Her dime will come, never fear, so long as Raye continues to make songs like (Track 15) “Joy.” This late-album hit has the juice of certain 2010 smash hits as a big brass section jumps on top of a sleek afrobeat (which sticks around in the form of a rhythmic 808). The band’s sound and volume takes me back to Fifth Harmony’s prime, Jessie J, rooftop pop. (Track 16) “Happier Times Ahead.” Carries the same sentiment, sound and quality into the album’s conclusion, “Fin,” which functions as an audible credit-roll. Raye’s lyrics are good, the world she built excellent, her voice unique, vocal style unparallelled. She deserves to be praised in the same international pop circles as her British pop foremothers, Latin juggernauts and American stars. She deserves mentioning in the same conversations as young visionaries like Cameron Winter. And if she keeps up this pace, Raye will earn mentions in conversations about the all-time greats. THIS MUSIC MAY CONTAIN HOPE is a 9.1.

VOIR DIRE : RELEASED By: Ian Sherry 9/11/2023 On August 29th, 2023, Earl Sweatshirt and The Alchemist released their collab album Voir Dire . It features warm, sample-heavy hip-hop production via The Alchemist , and well-written verses by Earl Sweatshirt . With these two, that’s a given. However, Earl’s performances are all delivered with the same monotone cadence, which makes it hard to focus on his lyrical prowess. And, though his beats are catchy, most of them just loop or sustain the same, short-lived groove. It’s an exercise in simplicity. There’s nothing wrong with that, but it doesn’t give me a lot to say. I’m a fan of both artists, I was excited, and now I’m moving on. Voir Dire is a 5/10. Now for the article! Earl and The Alchemist whipped up a cute little album rollout this time around. Voir Dire came complete with internet lore, a strange streaming service, and NFTs! Can you feel my eyes rolling through these words? I get it, it’s just not my thing, and since custom album releases have become all the rage, I figured I’d take a stance. First of all, why? The easiest way to unpack any music industry phenomenon is to take a quick look around. For example, today’s context provides an immediate answer: everyone’s doing it. From Lizzo to Travis Scott , the mainstream has been taken over by album releases becoming a holistic experience. There are different methods, and Voire Dire is one such example. From the artist’s point of view, I can imagine it’s become a necessity to do something special to keep pace with consumer expectations. On top of fulfilling industry norms, it’s a creative and competitive opportunity: integrating personality into one’s music is a skill, and some are more skilled than others. Fortunately for the others, the release itself is a golden opportunity to put your personal spin on your artistic product. For Lizzo that meant a body positive mega-livestream. For Travis Scott, a huge tour complete with theatrical mosh-pitting. The commonality is an artist furthering whatever vibe they want for their album, whether it be positivity for an individual or pure energy for the biggest crowds. On a base level it's fun, and when done correctly, it can elevate a project. Let's not get carried away. Big rollouts set expectations. Regardless of the artist’s intent, everything they do in preparation for releasing an album feeds into the public’s perception and anticipation. Since the public tends to be very perceptive, that means the bigger you make it, the more pressure to deliver. So it better be good. Let’s talk about Donda . Kanye West , who seems to work his way into every article now, announced he’d be releasing the album Donda as an ode to his mother back in 2019. It was delayed and delayed, until its eventual rollout in 2021. That rollout was a failure. West tapped into all the theatrics, bringing out guests, selling tickets, and creating the ultimate spectacle. It was a massive celebration of the music industry superpower that is Kanye West. Once again, the purpose of an album rollout is to further the music’s message and bring the audience in closer before they hear the first note. So, now's a good time to remind you that the album was about Kanye’s mother, Donda West. Donda, not Kanye. Yet, the focus of the album’s content was all over the place, more reminiscent of a DJ Khaled ’s self-indulgent celebration on God Did than an introspective, vulnerable record like Jay-Z ’s 4:44 . Kanye packed the tracklist, loaded it with features, and his rollout mirrored that attitude: a celebration of himself packaged under his late mother’s name. Then, if his motives and focus weren’t already in question, he released Donda 2. The follow-up’s rollout was even more unique. In a move against the profit motivated industry executives, West released the literally incomplete album on the Stem Player in an effort to make money his own way. It’s always hard to say what West’s intentions are, but it seems like his mother’s name should’ve been kept separate. This is not artistic vision, it’s greed. As we delve further into the culture of the modern album release, I’m hopeful that artists can be more mindful and avoid crossing that line. The overall approach must stay on message and focus on the audience’s ability to receive it. Voir Dire again. Speaking of focus, let’s return to the Voir Dire . At first this album was an internet rumor. Then it was announced. And finally it became a complete rollout experience experience. As a fan of the two collaborators, I was excited that the album dropped without too long of a wait; that is, no advance release date was posted, a la Donda . Beyond that, their strategy provided anticipating fans with an opportunity to experience the content further through write-ups and NFTs. Did it pique my interest? Not especially. But their approach has merit, and I’m sure it’s resonating with the right audience. Voir Dire ’s release is a 8.5/10.

Fool's Gold: Apollo's Debut Is Not By Ian Sherry 8/8/2025 On August 8, 2025, Lew Apollo released Fool’s Gold. This debut album is a celebration of individual creation within the blurred lines of this contemporary musical landscape. Lew Apollo was introduced and pitched to me as a “soul” artist. We take soul seriously here in Detroit, making such a label not only striking, but a direct challenge. An endless list of criteria scrolls Star Wars-style through my subconscious as my ears do the judging. In this case, “soul” is a precious label I cannot afford. Apollo’s self-produced pop sound is balanced, fresh, and on-par with industry standards, but it doesn't so much emulate the musical bones of soul music. In an effort to perfectly portray “Lew Apollo the artist,” a noun was used as an adjective: Lew Apollo is not a soul singer, but he is a singer with soul. In 2023, Apollo released JUNGLE . His debut EP had an interesting variety of pop-adjacent tracks, but I find its name to be its most relevant feature. Jungle, to most music fans, is a British band, whose poppy yacht-funk can drift towards modern (Indications-like) soul on any given track. Whether or not he did it intentionally, Apollo benefits from this namely intertwinement. His and Jungle’s likeminded approaches to bridging pop and aspects of disco or soul co-validate one another through quality and creative direction, and that’s evident from track 1. “No Room In Hell” is a prototypical result of this sound, and I’m here for it. The track’s bounce is enough to grab my ear, and the otherwise spacey instrumental is filled-in but secondary to Apollo’s well-engineered vocal editions. The following title track, “Fools Gold,” flexes the ability to easily rework the sound established in track 1. The gradual pace and slappy bass allow Apollo to meander his way into a dreamy vocal performance, floating on the verses no problem, into a catchy chorus with understated background vocal support, before making room as he often does on this record, with a humble but quality instrumental bridge. By this point, it was becoming clear to me that I was dealing with a legit composer. Lew Apollo has a thriving independence about him, from the persona outlined in his promo material, to the aesthetic he’s cultivated on socials and cover art. But, the kicker is that he produced this record himself. Many a genre-fence-sitter have thrived in the technological era of production. Think early Kanye West, Anderson .Paak producing Malibu on his Macbook, or Lew Apollo piecing together a chorus-bolstered, soul-appreciative third track of legitimate sonic scale… “Let The Light In” opens with a murky hook preview and some of Lew’s most striking lyrics thus far. After teasing the chorus, the track begins to pick up steam, bringing in more instrumental and background vocal support on the chorus’ second repetition, and continuing to find new gears through the track’s closing moments. Our tour’s next stop is track 7, “Addicted.” Talk about inspiration. Lew definitely went for a soul tune with modern juice on this reimagination of Bill Withers’ “Just The Two of Us.” Leaning respectfully-but-noticeably on that legendary 6-bar progression, Apollo drops in a heavy r&b track complete with an original spin on the hook’s bones, meaty bass dips, and a delicate bare-bones sonic atmosphere that he places himself at the center of. A win in my book. Now for the closer. Fool’s Gold’s ninth and final track was perfectly placed. Lew Apollo lays it all out there on “Feeling OK,” which stands head and shoulders above an already raw record in terms of vulnerability. Accompanied by only his guitar, Apollo limps his way through a relatable account of the challenges of day-to-day living. While the song doesn’t do a ton musically, his guitar is just enough to properly support him as he captures a feeling experienced by many through different but comparable experiences. He has one line specifically that he wanted us all to hear as his debut record came to a close: “if you can’t pick me up, then put me down.” I’m here to pick him up. Lew Apollo is an ambitious artist. A capable musical visionary. An independent well-rounded artist. And a soulful singer. Fool’s Gold is a 8.2.

VOIR DIRE : RELEASED By: Ian Sherry 9/11/2023 On August 29th, 2023, Earl Sweatshirt and The Alchemist released their collab album Voir Dire . It features warm, sample-heavy hip-hop production via The Alchemist , and well-written verses by Earl Sweatshirt . With these two, that’s a given. However, Earl’s performances are all delivered with the same monotone cadence, which makes it hard to focus on his lyrical prowess. And, though his beats are catchy, most of them just loop or sustain the same, short-lived groove. It’s an exercise in simplicity. There’s nothing wrong with that, but it doesn’t give me a lot to say. I’m a fan of both artists, I was excited, and now I’m moving on. Voir Dire is a 5/10. Now for the article! Earl and The Alchemist whipped up a cute little album rollout this time around. Voir Dire came complete with internet lore, a strange streaming service, and NFTs! Can you feel my eyes rolling through these words? I get it, it’s just not my thing, and since custom album releases have become all the rage, I figured I’d take a stance. First of all, why? The easiest way to unpack any music industry phenomenon is to take a quick look around. For example, today’s context provides an immediate answer: everyone’s doing it. From Lizzo to Travis Scott , the mainstream has been taken over by album releases becoming a holistic experience. There are different methods, and Voire Dire is one such example. From the artist’s point of view, I can imagine it’s become a necessity to do something special to keep pace with consumer expectations. On top of fulfilling industry norms, it’s a creative and competitive opportunity: integrating personality into one’s music is a skill, and some are more skilled than others. Fortunately for the others, the release itself is a golden opportunity to put your personal spin on your artistic product. For Lizzo that meant a body positive mega-livestream. For Travis Scott, a huge tour complete with theatrical mosh-pitting. The commonality is an artist furthering whatever vibe they want for their album, whether it be positivity for an individual or pure energy for the biggest crowds. On a base level it's fun, and when done correctly, it can elevate a project. Let's not get carried away. Big rollouts set expectations. Regardless of the artist’s intent, everything they do in preparation for releasing an album feeds into the public’s perception and anticipation. Since the public tends to be very perceptive, that means the bigger you make it, the more pressure to deliver. So it better be good. Let’s talk about Donda . Kanye West , who seems to work his way into every article now, announced he’d be releasing the album Donda as an ode to his mother back in 2019. It was delayed and delayed, until its eventual rollout in 2021. That rollout was a failure. West tapped into all the theatrics, bringing out guests, selling tickets, and creating the ultimate spectacle. It was a massive celebration of the music industry superpower that is Kanye West. Once again, the purpose of an album rollout is to further the music’s message and bring the audience in closer before they hear the first note. So, now's a good time to remind you that the album was about Kanye’s mother, Donda West. Donda, not Kanye. Yet, the focus of the album’s content was all over the place, more reminiscent of a DJ Khaled ’s self-indulgent celebration on God Did than an introspective, vulnerable record like Jay-Z ’s 4:44 . Kanye packed the tracklist, loaded it with features, and his rollout mirrored that attitude: a celebration of himself packaged under his late mother’s name. Then, if his motives and focus weren’t already in question, he released Donda 2. The follow-up’s rollout was even more unique. In a move against the profit motivated industry executives, West released the literally incomplete album on the Stem Player in an effort to make money his own way. It’s always hard to say what West’s intentions are, but it seems like his mother’s name should’ve been kept separate. This is not artistic vision, it’s greed. As we delve further into the culture of the modern album release, I’m hopeful that artists can be more mindful and avoid crossing that line. The overall approach must stay on message and focus on the audience’s ability to receive it. Voir Dire again. Speaking of focus, let’s return to the Voir Dire . At first this album was an internet rumor. Then it was announced. And finally it became a complete rollout experience experience. As a fan of the two collaborators, I was excited that the album dropped without too long of a wait; that is, no advance release date was posted, a la Donda . Beyond that, their strategy provided anticipating fans with an opportunity to experience the content further through write-ups and NFTs. Did it pique my interest? Not especially. But their approach has merit, and I’m sure it’s resonating with the right audience. Voir Dire ’s release is a 8.5/10.

PUTTING YOU ON THREE BY: Ian Sherry 5/22/2023 For music fans, there is no better feeling than discovering a new artist. Whether it’s a sleepless 2:00 AM deepdive, the opener that outperformed the band you actually came to see, or you decided (at risk of being lame) to finally listen to the Beatles, musical discovery is an unmatched feeling. This year has been kind to me thus far, so to celebrate I’d like to share my three favorite “underground” discoveries. In order of monthly listeners on Spotify, here are my three. They are all active artists who have lots of potential and could use your help, so if my descriptions appeal to you please check them out. Elijah Landours Technical Juggernaut 2,135 Monthly Listeners Though he has the least number of streams of these three talented artists, Elijah Landours may be the most polished. The Indianapolis rapper only has one album out on streaming services to go with several singles, yet his strengths are clear in this admittedly brief discography. Landours has a style. A groundbreaking one? No, but it’s consistent, recognizable, and entertaining. He does things in his music that many world-famous artists still fail to grasp. The first aspect of Landours’ musical repertoire is his sampling instincts. He uses them as frequently as anyone else, but he is so meaningful. A tendency of big money rap projects recently is over-sampling. It isn’t necessarily a negative, meaning an extra sample may not hurt the song. But, the purpose of introducing someone else’s work into yours is to pay homage and create a sound you wouldn’t have otherwise. That’s what he does. “PROPANE” is a good example off the 2022 project N/A . It makes use of a straight Marvin Gaye sample, but I don’t want a lawsuit so I’ll talk about “REVENGE FOR LOST TIME”. Also off N /A, he opens with a silly audio clip before introducing the faded and looped sample with distorted vocals and trumpet run. He then lays a simple drum machine and base hits over the top. He leaves the sample quietly underneath and brings it up over the top on occasion to add flavor to the heavyweight rhythm. Landours’ flow rides over the top of his most dense soundscape for one of his best songs, despite a feature I could take or leave. This leads me to Landours’ secret sauce. He has an uncanny ability to work over the top of his instrumentals. This is that polish coming into play again. No matter the speed of the beat, he is able to pace himself and dictate the energy of the song. Many artists have a tendency to try to be on the same pace as the beat, Landours’ knows better. It’s especially evident in some of his hooks. “MYSELF” and “MYLES AWAY” are his two most popular songs and for good reason. He is able to accelerate in and out of his verses to seamlessly shift the tone of the song. Both songs have sample-based beats which the hooks match in pace. They then make swift shifts into higher energy and pace on the verses. This allows him to use simple beats to create a comfortable groove for the listener because he provides all the necessary flavor in his delivery. Elijah Landours is a technical beast with an ear for beats and a lot to say. His execution comes off as relentless and sincere. Oftentimes I find myself imagining what artists could feature on his projects, from Black Thought to Denzel Curry. His soul flips and lyrical prowess are on the level of today’s best and brightest and his more unique strengths are a level above that. Elijah Landours is the real deal, he is ready, he just needs you to listen. https://unitedmasters.com/elijah-landours Ally Evenson Narrative Weaver 21,885 Monthly Listeners Disclaimer: Ally Evenson is Detroit based, so I may be biased. Her discography, while it may be the smallest on the list with one EP and five singles, has a promising level of diversity. She has a good grasp of Pop as a genre and its ability to bridge stylistic gaps while maintaining one sound and stylistic label. Not that labels matter, but within pop she’s given herself the ability to grow under one roof (and within one algorithm) while showing off her versatility and trying new things. When I listen to Evenson, her wide range of influences and natural musical instincts are clear, making a trip through her discography very rewarding for new listeners. Evenson’s recent singles have been most successful in terms of streaming, signaling positive growth, but her 2020 EP Not So Pretty gives what I consider the most essential taste of her abilities. Her singing performances are solid all the way through, nailing the sad-girl pop aesthetic with vocals that border on whining but settle in a genuinely vulnerable place. The first three songs “Not So Pretty”, “Why Don’t You Call Me Anymore?”, and “Burning Room” all lean into that same style. Their lyrics and song structure are impressive as she is able to change direction without any major shifts in composition or delivery. They move along and keep the listener tied into their easy to swallow narratives. Admittedly, the fourth song “More of a Happiness” sticks out in an otherwise uniform release, and though it's out of place, it may be the strongest track. The best way to describe it, in my mind, is a beach song. Washy guitars, an upbeat rhythm, and smooth vocals that feel like one continuous chorus, it’s a welcome change in direction. It stands as proof that she’s a good collaborator (with Katrine Noël in this case), and a reminder that Evenson knows her stuff, making it a perfect interjection for an early-career release. I’d wager the biggest reason for Ally Evenson’s growth as of late is her honing in on a consistent signature sound. That creativity is still present, but her 2022 singles feel like a good indication of her future direction. Fairly simple strong structure, often building from a simple acoustic guitar to more heavily layered high points, goes with her ability to build tension with her vocals. “Bite My Tongue” is a great example. She remembers her way through a dead relationship, attempting to hold back negativity towards the person in question, only to have it boil over. Inevitably she’s forced to face the fact that she missed the chance to say what she needed to. She knows how to write a song and paint a picture. Whether it's through lyrical expressions of pain like on “I Can’t Feel (My Body)” or “Bite My Tongue”, a well placed audio clip like on “Good Morning, Al”, or just a vibe like “More of a Happiness”, she has command. Evenson is a creative and a student of the music game, and those ingredients are exciting to say the least. Her continued journey towards an easily recognizable sound is key, and her growth in streaming number will only encourage it. I am looking forward to Evenson's 2023 releases, and I hope you'll join me on the lookout. https://linktr.ee/allyevenson Gretel Hänlyn Musical Swiss Army Knife 165,440 Monthly Listeners London is one of the most unique and diverse cities in the world. This goes for music as much as anything else, and Gretel Hänlyn is proof of that. Her sound is unique and I believe her ceiling is the highest of these three artists. She has two EPs out on streaming services, and while they are wildly different from one another, her voice and personality are true constants between them. Hänlyn seems to be executing her visions on a near expert level and her creative ambitions and talent will carry her far. Gretel Hänlyn’s never-ending appeal begins with her voice. Her tone and versatility cannot be taught. Though it's hard to conclusively say where an artist feels strongest, Hänlyn seems to thrive singing in her naturally deep voice which she can pitch up or down. She doesn’t need to throw her voice at all to hit the notes she desires on a given song. This is something that many incredible vocalists, Prince for example, aren’t fortunate enough to have been born with. They may be able to hit notes with added concentration and polish, but Gretel can do it without a second thought. While the ability to range up and down without any significant heightened focus may seem like more of a convenience than an advantage, that’s not the case. In fact, I think it’s a big reason she is such a dynamic artist. It gives Hänlyn the ability to focus on supplying her performances with emotion, creating unique melodies, keeping pace, and most importantly, entertaining. Like I briefly mentioned, her two releases are much different from one another, however, they are anything but singularly focused. The 2022 Slugeye is a 20 minute package of vividly heartfelt songs, indie-pop jams and takeaways from each track. It showcases her ability to elevate any song with a great chorus, sing a verse in any tone, and keep the audience off balance yet captivated. For promptness sake I’ll limit myself to one song: “In The Water”. It’s not the best song on the EP, but in my opinion it showcases her various tools the best. We hear her complete range, from the murky lows to the delicate highs, her beautiful vocables included. She writes it in one of her most common formats: a meandering mix between conversation, narrative, and her own thoughts. She also layers the instrumental as the song proceeds, beginning with some of her more stripped down production (usually serving more sensitive narratives) and building to a masterfully layered chorus that even includes what sounds like a harp laid over top. It’s elegant, it’s emotional, it’s beautifully performed, it’s entertaining, it’s Gretel Hänlyn. In 2023 she vowed to take her already fully formed sound and push it further on Head of the Love Club. The result is fantastic. So good I couldn’t resist writing a complete and overdue EP review . I have so much to say about Gretel Hänlyn I needed an entirely different article, if that doesn’t properly sum up her talent I don’t know what does. https://www.gretelhanlyn.com/ Musical discovery is the most essential role we can play as consumers. If you haven’t heard of these three, I am thrilled to introduce you. If you have, keep listening, so we can keep getting more. They are all very talented, and together they cover all aspects of experiencing music. I hope you agree.

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.

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.

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

< Back 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 my 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 kind of 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 kind of 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 heightened by social media with people sharing those opinions, so then you're already going in anticipating liking it or loving it and so he has done so much. So he's kind of being built up and built up, and I think the fact that he 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, right, 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 in a way that is done 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. Previous Next

Even More Gecs (10,000) BY: Ian Sherry 4/1 /23 On March 17, 2023, 100 Gecs released their sophomore album 10,000 Gecs. Following the release of their debut album 1,000 Gecs, the St. Louis native duo, Laura Les and Dylan Brady, has become one of the most polarizing and impactful groups of the last five years. Hyperpop is a genre born from a combination of internet culture, and the mistaken notion that music can’t progress beyond its current stylistic barriers. In many ways it is the Gen Z equivalent of the punk movement of the mid-70s that serves to demolish the assumption that there are no more musical worlds to conquer. The impact of 100 Gecs on their audience is immeasurable, and I suspect their influence will be felt more and more in the mainstream over decades to come because of their impact on the young, underground scene. Despite all of this, 100 Gecs has much to prove entering 2023. Like many of the albums I review, they face numerous questions, but, unlike other reviews, their questions include: Is this real music? Will they use real instruments? And most importantly, what is a gec? Because their first album often sounds like it was composed using a microwave, autotune, amber alerts, and a drum machine, these questions aren’t unreasonable. And while they don’t care much about answering anyone’s questions regarding stylistic choices, 100 Gecs did a good job of cementing themselves as the ambitiously creative musicians that their audience swears by. As a listener it’s easy to dismiss the chaos of 100 Gecs as accidental, but I can assure you it’s a choice. They have a plethora of influences which only became more obvious with this year's release. Being from St. Louis, midwest emo is a natural inspiration for them, but they do a great job of incorporating elements of punk, pop-punk, and ska on this record; and for a group that can be intentionally offensive to the ears on occasion, they incorporate their various influences tastefully and in different ways. For instance “Hollywood Baby” is a straightforward emo-pop song. They enter a genre which suffers from over-replication and put their own spin on it. It’s simple but enjoyable and it was received very well, making it a great choice for one of their leading singles. They also include “Billy Knows Jamie”, a grinding punk song with wailing guitars, a variety of equally intense vocal deliveries, and a death metal break (if death metal can be considered a break) at the end of the song. “Billy Knows Jamie” is a shift in mood and lyrical content as well as music and it showcases their ability to convey emotion even with their unconventional sound. One observation, if not critique, of their first album was their only two moods were ecstatic highs and lows that cried for help. Along with their music, the emotion infused in every song has become more diverse. “Dumbest Girl Alive”, the first song on the album, gives a taste of that emotion. It provides a window into the performer’s struggles with self worth and does so very matter-of-factly. “I'm smarter than I look, I'm the dumbest girl alive”. They aren’t asking for pity, they’re giving an honest assessment of their character, however concerning it may be. 100 Gecs not only makes music young people enjoy, they accurately represent a problem that many internet-era teens struggle with, and they do so on a catchy track. Maybe the catchiest track on the entire album is “Doritos & Fritos”. It is the first taste of the ska on the 2023 record, something they haven’t shown much before but are clearly comfortable executing. It has that signature upbeat baseline of the 90s genre along with verses that flow really well and choruses that are perfectly timed. The guitar solo bridge adds to an already enjoyable song by keeping the energy going while also providing a welcome pause in the vocal action. However, what makes this song great to me, is the attention to detail in the production. Their previous album certainly didn’t lack excitement, but it did fail to provide breathing room in a lot of the tracks. The mixes often blended together because of the countless minute soundbytes mashed into a beat. “Doritos & Fritos” does a great job of using lengthier instrumental clips and an added focus on layering within the mix, to create a really full sound while falling short of overwhelming the listener or spiraling into sonic disorder. This is encouraging as a fan because it shows not only an improvement in skill level, but a willingness to shift their style without conforming or losing their sound. In true 100 Gecs fashion, the most emotionally raw track is called “I Got My Tooth Removed”. It’s a silly fun little song that incorporates the best parts of “Dumbest Girl Alive” and “Doritos & Fritos”, with both masked and forefront emotions to go with an upbeat experimental ska sound. It starts with an emotional, instrumentally stripped down, vocal intro that establishes the conflict (tooth removal) before jumping into the loud ska jam. The pace is fantastic, and once again, their variety of vocal deliveries are essential, along with the horns of the chorus that keep it moving along without becoming repetitive. However, what I like most is the tooth removal narrative. It is a metaphor for the inevitable end to a toxic relationship and they don’t try to hide it. Their choice to design the song how they did reflects the attitude of someone who is hinting at something heavy, but choosing to bury it in favor of positivity. The metaphor is present throughout the song but 100 Gecs' rarely emphasizes their lyrics or vocals, so the narrative can be easily ignored, and that is exactly what they want. 10,000 Gecs is a definite improvement. Despite the success of their debut, they had lots to work on, and that’s what they did. They improved their vocal skill and diversified their deliveries. They employed more airy, smooth production and layering, which made for more palatable sonic highpoints. Their songwriting vastly improved. And, they spread their influences and inspirations over the course of entire songs, instead of a matter of seconds. 100 Gecs, as pioneers of a young genre in need of refining, had a lot of responsibility to deliver in 2023, and even with “Frog On The Floor” (a straight up dumb song) they did. And for those concerned they may have changed too much, allow me to point you in the direction of “757”, “One Million Dollars”, and “mememe”. If it’s not for you that’s understandable, but Gecs will always be Gecs, don’t worry. There’s still room for improvement, and when stacked up against other big-time releases their lack of seriousness on some tracks can hold them back. But their ceiling is higher than they get credit for and I think they proved that this year. 10,000 Gecs is a 7.75/10.

The Hunting Party 2/10/2025 BY: IAN SHERRY The Hunting Party premiered February 4, 2024, on NBC. The sole focus of network television, perhaps more than any other form of media, is to secure viewership. Each and every episode must supply something that brings the audience back the next week, which places a unique and permanently immediate sense of pressure on everyone involved. That pressure begins the moment the creators cross the threshold from idea to product and doesn’t cease until the show itself does. Network television’s latest million-dollar idea sprung from the mind of JJ Bailey. Bailey has experience with the pressures of Network show-biz, having had Echo, his only prior show, canceled after the pilot. The Hunting Party, in many ways, is a reflection of his learned approach to the genre. We can start with the premise. An unknown number of assumed-dead serial killers escape from a massive CIA-run subterranean prison via explosion. Now that’s a headline, albeit one that’s kept from the fictional public. The result of that jailbreak, therefore, is a technically unlimited (but more like unspecified) number of future episode plots. In that sense, The Hunting Party is pure genius. That, however, is not the only sense I care about. One of the givens of network television, in my eyes, has always been the limited quality of the art itself. There is a definite standard that this meticulously analyzed audience is known to expect. Falling short of that standard in any way, whether it be writing, acting, set design, or one of the many other requirements of TV production, would likely be received as a critical error. However, that standard is so demanding, there are so many boxes to check, that it encourages a sort of ‘good enough’ attitude, rather than the perfection in a vacuum that an alternatively produced show might aim for. The Hunting Party, for all its broad-stroke-strengths, is no exception to the phenomenon above. If you watched the promos, you’d be fooled into thinking Bex, played by Melissa Roxburgh, is the star of the show. In reality, the star is the plot. For instance, Bex goes from an FBI profiler posted in a casino (the FBI’s doghouse) to lead profiler in the most crucial multi-manhunt in the country’s history before the first commercial break. If that seems sudden, overly convenient, or even unrealistic to you, you’re not alone. But, that fast, loose, fairytale style was a conscious choice - one that, while limiting to the actors as they come across stiff and defined by their function, allowed for the writers to work in a borderline ludicrous number of plot twists, eureka moments, and cliff hangers in place of thoughtful, time-consuming small-talk or character definition. JJ Bailey’s masterpiece is not, nor will it be, a show defined by its acting, and certainly not by its writing, but neither is the genre. Network television is defined by ambition (I should know I watched 30 Rock). And while a show like The Hunting Party simply cannot compare to a show like 30 Rock in the classic critical categories, it just delivered perhaps the most ridiculously plot-packed pilot episode I’ve ever seen. That kind of unchecked creativity and ambition, at the end of the day, is what brings audiences back, and despite the various surface-level limitations I can’t help but consider myself a part of this audience. I will be back tonight for more.