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.

Durand Jones Goes Solo: Wait Til I Get Over BY: Ian Sherry 5/29/23 On May 5, 2023 Durand Jones released Wait Til I Get Over . Over the past five years Durand Jones & The Indications have been making great music. Their 2018 debut self titled album is great, their 2019 American Love Call is easily my favorite contemporary soul album, and their 2021 Private Space is a stylistic swerve done the right way. Now, we get Durand Jones’ first solo album. This doesn’t signal the end of the band. No, Jones made it clear on several occasions leading into his 2023 release that it was a deeply personal project, one that he needed to do himself. Durand Jones’ lack of Indications both intrigued and concerned me. The Indications thrive because of three general strengths (outside of Durand Jones): songwriting, consistently strong musical performances, and Aaron Frazer. Without the rest of his band, could Jones replicate these strengths? After all, the best bands’ songwriting is often a group effort, The Beatles or Queen for example, and Jones is just one man. That throwback sound the band revitalizes in such a refreshing way is difficult to capture, and attempting to recreate that same magic without them would be difficult. Aaron Frazer is The Indications' secret weapon, whose occasional lead vocals provide a great deal of variety, and whose help on choruses or ensemble vocal performances with Jones solidifies the uniqueness of the band's sound. Frazer is absent from this project. However, that was the point, and any of the resulting missteps on Wait Til I Get Over were a part of the calculated risk Durand Jones took going solo this year. So now, the results of his risk: Frankly, I have lots of critiques to roll out, but I'd like to start on a positive note. I love Aaron Frazer, and I was hoping for at least a feature from him; but he’s not needed. Durand Jones is a dynamic vocalist, able to carry nearly any tune and elevate even the most instrumentally bland music. Without that, this album would really struggle, lucky for Jones he can sing. Actually, he’s not lucky, just good. It's easy to say so, considering the songwriting on this album may be his strongest yet. Detailing the struggles of his people in the South and his own internal journey, Jones does a great job of using themes like community to fuel feelings like hope for a well-rounded yet fittingly unfinished narrative. While the narrative is cohesive, the stylistic choices are not. On the first three songs, Jones touches on three very different sounds. This can be done really well, but in this case it feels disjointed. “Gerri Marie” is a solid intro that sets a scene and vibe with Durand Jones and a piano. That’s it, but its simplicity is its strength. However, post the first interlude (track 2), this vibe is deleted by “Lord Have Mercy”. A jaunty sort of Bayou Rock song, it’s the first of a new Durand Jones sound, one that needs a lot of work. It effectively introduces the most unfortunate recurring theme of this album: poor instrumental production and vocal mixing. The instrumental layering is cluttered and a weird buzzy finish lays over everything, including Jones’ vocals. Yet, on the very next track, “Sadie”, Jones temporarily abandons his theme of musical mediocrity. It is a strong song in every way. Great hooks, choruses, and instrumental backing and breaks, it has all the makings of an Indications classic. So why not make that a theme? I think a look at track 5 can answer that question. "I Want You” is another Indications-worthy track musically, as well as a Jones masterclass vocally. He mixes in powerful background vocals at just the right moments and spoken pieces mid-verse, two things seldom seen, if ever, with his band. He is in his creative zone, stretching his attention to every aspect of the sound he wants to encapsulate. But, stretch is the key word. For the length of the song, every couple beats, there is a strange crashing sound. It's some sort of percussion, and it should have been any other kind of percussion, as keeping pace seems to be its sole purpose. But he chose this sound. A decision that doesn’t ruin the song completely, but one that, along with an occasionally jumbled bottom to the mix and an instrumental layering failure down the stretch of the song, can remove a distracted listener from the otherwise powerful tune. Durand Jones is a member of a great band, and great bands don’t let things like that slip through the cracks, but once again, he is just one man. These seemingly careless miscues continue through the album, and honestly, highlighting all of them is trivial. From the drowning of a strong communal vocal performance on “Wait Til I Get Over” to the alarmingly unfit feature on “Someday We’ll All Be Free” or the failure to catch a groove on “Letter To My 17 Year Old Self”, Jones misses opportunities to properly support his beautiful writing and vocal performances. However, he does not miss on “That Feeling”. Durand Jones is a bisexual black man from the South. That means both everything and nothing to this song. To my knowledge, it’s the first time he sings about another man, and he does so against that backdrop he spent so much time constructing. However, as he eases into this particular narrative, everything fades away. It doesn’t matter who he is speaking to, it’s beautiful. A story of wasted potential, told through a nostalgic lens, with that familiar hope and determination, “That Feeling” is love. It’s also the best song on the album. With raw vocals and a classic instrumental intro, Jones eases into the rhythm just as he does the narrative. Layering keys and guitar, he elevates the sound to the highest point of the album in stride with his words, before stripping it down to deliver a message: he and the love inside him aren't going anywhere. With the message delivered and the love story completed, Jones takes the last minutes to elevate one more time, leaving the audience with a powerful combination image and sound. Jones thrives in simplicity on this album, “Secrets” is a good final example. A piano and some voices are all he needed to close his 2023 release. Waves crash against a shore for the last two minutes, washing away the song and this, simply put, unique album. I hope it's unique for several reasons. First, Durand Jones is better than this. But, on top of that, he needed to get something out of his system. For his sake, I like to think he’s satisfied that need, at least enough to clean up any remaining loose ends with The Indications (in more ways than one). This album is messy. The production and mixing are scarily bad at times, as if he needed a reminder that the old days are supposed to be represented by the narrative, not the sound equipment. Jones also struggles to hitch a stylistic ride all the way through. This is fine for an EP, but for an album with a decisive theme, flow is essential. Yet, while it's easy to nitpick my way through this album, it's also easy to get lost in what Jones does well. He is an exceptional songwriter, a skill rivaled only by his vocal abilities. Those two strengths specifically can carry an album, and this is certainly one of those cases. I love Durand Jones, I am excited to see what he does next, and I believe the worst he can do is average. This album, all things considered, is just average. Wait Til I Get Over is a 5.25/10.

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 BEST ALBUMS OF 2022 1/20/23 BY: Ian Sherry Making top ten lists, especially when there are as many options in a given category as there are in this one, is plain stupid. So here is mine. Honorable Mentions All of these albums are really solid but fell short of the list for some reason or another. However, they are all worth a listen. The Forever Story, JID Melt My Eyez See Your Future , Denzel Curry The Boy Named If , Elvis Costello Ants From Up There , Black Country New Road Dragon New Warm Mountain I Believe In You , Big Thief Fear Of The Dawn , Jack White THE LIST 10. I Didn't Mean To Haunt You , Quadeca Let me start by saying that Quadeca is only 22 years old, yet, he has already undergone a full metamorphosis as a musician. He began his career as a YouTuber and transitioned into making uninspiring and unimpressive rap music. However, something switched in his head; he realized just how important music is to him as well as what he is capable of. His 2021 project showed signs of his capabilities as he began to switch into a wildly different musical space than that of his 2019 project. On I Didn’t Mean To Haunt You , Quadeca has fully arrived. While it isn’t as polished as the remaining albums on this list, he attacks the concept he chose and delivers numerous performances that nobody could’ve seen coming just three years ago. This album is at times touching, even overwhelming, and his dedication and embrace of his vision is what made it all possible. Best Song: "Born Yesterday" 9. SOS , SZA The last few years there has been a specific sub-genre forming somewhere in between pop and R&B. People like Summer Walker, Ella Mai, and Jhene Aiko have all been major artists, but SZA is leading the charge. Because of her position of influence with the blossoming genre, SZA had a lot of pressure on her leading up to this release. In my opinion she has the responsibility of leading this young and popular sub-genre in the right direction. Often artists in this vein of music have a tendency to make enjoyable, but ultimately safe and somewhat bland music. SZA decided to take risks on SOS and it paid off. The second two thirds of the album marks some of her most creative work to date. A few well placed and unexpected features mixed in with her ability to meander across pop-adjacent genres earns SZA the number nine spot on this year's list. Best Song: "Open Arms" 8. Once Twice Melody , Beach House Beach House is well-established at this point. They are experts of their craft and are able to consistently deliver what their fans are looking for. However, they occasionally seem to play it safe. They found their unique sound and are comfortable staying there. This album is a great step forward. They didn’t depart from their bread and butter, however they did improve upon it. We hear different vocal styles and more rangy instrumentals than expected. At a time where they did not need to do anything special, they took good steps creatively to deliver a very well rounded album. If you enjoy gentle vocals and atmospheric production, this album is for you without a doubt. Best Song: "Pink Funeral" 7. age/sex/location , Ari Lennox This is just a great album. Admittedly I did not know much about Ari Lennox going into this album; now, I do. She is a versatile artist with a great voice who feels comfortable in every style she tries on age/sex/location. Right off the bat she reminded me of Erykah Badu and Beyonce. She has the attitude, clever verses, and vocal tone of Erykah Badu on occasion, and she combines that with runs and spoken hooks that Beyonce loves to utilize as well. Ari’s usage of base reminds me of Adi Oasis as well, if you’re not familiar with her and like this album you should check her out next. She is very effective when moving between influences and different styles, and that is a big reason why this album is great. All of the featured artists do their job and the result is a great sophomore album from an artist that can bring listeners together from different sides of the contemporary R&B spectrum. Best Song: "Leak It" 6. It’s Almost Dry , Pusha T I listen to a lot of rap, and there were a lot of great albums this year. However, only one of them was a top ten album. On It’s Almost Dry , Pusha T reaffirms the fact that he has one of the most prolific deliveries in the rap industry. He continued on the roll he started with Daytona four years ago and did so with superstar producers Pharrell Williams and Kanye West. The production has fingerprints of these great artists all over it, but Pusha T makes sure to put his own stamp on it first and foremost. Though it doesn’t quite measure up to the all time great Daytona , it's great to see him in the same creative space four years later operating at that same high skill level. All of the features are good and its ‘worst’ songs are still ones that Pusha T fans will enjoy. Best Song: "Dreamin Of The Past" 5. Gemini Rights , Steve Lacy If you ask a given person what they think of Lacy’s 2022 album they are likely to respond one of three ways. They either have never heard of it, think it's the album of the year, or hate it with a passion. I think it's certainly up there. Steve’s first two albums after breaking off from The Internet, a band where he was the lead guitarist, were interesting but ultimately fell short much of the time. They were cluttered and seemed to need more time to mature into a fuller sound. He was not discouraged. Gemini Rights is a polished and creative album that can be enjoyed by a wide range of audiences. The contempt for this album mostly stems from the vast overplaying of its hit single "Bad Habit". In reality this is not a top song on the album. Though Steve is probably the weakest vocalist of the top five, he seems to be one of the most musically knowledgeable. He has a fantastic ability to cohesively mix instruments that are staples of a variety of genres, such as the trumpet and of course, the guitar. I am excited to see what he does going forward. Even though this was a well rounded album, I think further polishing could place him at the top of his field. Best Song: "Sunshine" 4. RENAISSANCE , Beyonce With RENAISSANCE , Beyonce has completed the elusive perfect three album run. This isn’t to say every song on all of them is perfect, but the evolution of her music and quality of her last three studio releases earned her this fictional honor. Beyonce , Lemonade , and RENAISSANCE are all fantastic, but RENAISSANCE definitely is my favorite. She incorporates elements of EDM and club dance beats perfectly into this pop album. She sings over these beats like it's nothing and nails a style that I never expected her to touch. She had no reason to try it other than it was part of her creative vision. I am thankful for her bravery at a point in her career where she could coast and sell records with ease. That all being said, the only reason this isn’t a number one album is because it has two of the weakest songs on this entire list. On top of that, I never thought I would compile a list like this in which Beyonce’s vocals are second best, but this year they are. That all being said, it's an incredibly bold and well executed album that everyone should listen to if they haven’t yet. Best Song: "VIRGO’S GROOVE" 3. Lucifer On The Sofa , Spoon Spoon. They’re really good and all, but I never thought they would be in this spot this year. If you like rock this is exactly what you need. It has been a while in my opinion, since there was an amazing archetypal rock release. As the album progressed I enjoyed each song more and more. These songs are familiar in the best possible way, as if people have been listening to this record for years. Lucifer On The Sofa is very well executed and curated. It's ten songs and each one of them is different enough to switch things up but not so much that it doesn’t flow perfectly. They have a grimy instrumental feel but the tracks as a whole are smooth and perfectly paced. Britt Daniel’s vocals remind me of Bowie at times because they have significant texture but are easy to listen to and feel elevated. The album flies by. I think this is their best release and the only reason it isn’t in the number one spot is that I just want more than ten songs. Ten is nothing to scoff at but all of the top three are great and there’s just less on Lucifer On The Sofa. I flipped a coin to pick the best song on this album. Then I flipped it for like four other songs. It's so good. Listen to this album. Best Song: "The Devil & Mister Jones" 2. MOTOMAMI, Rosalia Rosalia is a force of nature. If you aren’t acquainted with her yet, get ready. The Spanish singer is the best vocalist on the list this year, and I was blown away by this album. Of the top four, her album is the least cohesive and I saw complaints about the lack of flow and centralized themes. My argument is this: this album is a showcase of the incredible talent that is Rosalia and the theme is exactly that. At any given point you might hear a touching and beautifully performed song followed by an upbeat dance track, and that might be followed by an abstract beat with spoken verses. She is versatile. She is entertaining. She is exactly what pop music needs. In the last few years mainstream music has seen the ride of acts like Billie Eilish, Dua Lipa, and Olivia Rodrigo. As talented as they are in their lanes, none can touch the pure talent and versatility of Rosalia. Is it the most well rounded album? No, but it showcases more than any other album on this list. This is another album that’s so good I can’t pick a song. I will anyway but know that it won’t fully encapsulate everything that she accomplishes on this record. Best Song: "Sakura" 1. Wet Leg, Wet Leg This is the album of the year. Every single song is perfect. I don’t listen to much indie pop, so my opinion is an inexperienced one, but this is the best album I’ve ever heard in this genre. They have great vocals, creative, diverse song structure, and witty lyrics. Listening to them makes me happy, but they have the ability to steer your mood in different directions depending on their well written lyrics. They tell stories both with their words and their instrumentals. With this much talent it's no surprise that they caught a lot of media attention. They appeared on TV and on indie radio stations everywhere, spreading the word about this incredible project. I could go on and on, but I’ll keep it simple. They deliver everything you could want from a group like them. The craziest part? It's their debut. This is the album of the year. Best Song: "Chaise Longue" My closing thoughts are these: If any of these interest you please listen to them. If you disagree with me you’re wrong. If you disagree with the Grammy nominations or winners you’re right. And, this was a great year of music.

Durand Jones Goes Solo: Wait Til I Get Over BY: Ian Sherry 5/29/23 On May 5, 2023 Durand Jones released Wait Til I Get Over . Over the past five years Durand Jones & The Indications have been making great music. Their 2018 debut self titled album is great, their 2019 American Love Call is easily my favorite contemporary soul album, and their 2021 Private Space is a stylistic swerve done the right way. Now, we get Durand Jones’ first solo album. This doesn’t signal the end of the band. No, Jones made it clear on several occasions leading into his 2023 release that it was a deeply personal project, one that he needed to do himself. Durand Jones’ lack of Indications both intrigued and concerned me. The Indications thrive because of three general strengths (outside of Durand Jones): songwriting, consistently strong musical performances, and Aaron Frazer. Without the rest of his band, could Jones replicate these strengths? After all, the best bands’ songwriting is often a group effort, The Beatles or Queen for example, and Jones is just one man. That throwback sound the band revitalizes in such a refreshing way is difficult to capture, and attempting to recreate that same magic without them would be difficult. Aaron Frazer is The Indications' secret weapon, whose occasional lead vocals provide a great deal of variety, and whose help on choruses or ensemble vocal performances with Jones solidifies the uniqueness of the band's sound. Frazer is absent from this project. However, that was the point, and any of the resulting missteps on Wait Til I Get Over were a part of the calculated risk Durand Jones took going solo this year. So now, the results of his risk: Frankly, I have lots of critiques to roll out, but I'd like to start on a positive note. I love Aaron Frazer, and I was hoping for at least a feature from him; but he’s not needed. Durand Jones is a dynamic vocalist, able to carry nearly any tune and elevate even the most instrumentally bland music. Without that, this album would really struggle, lucky for Jones he can sing. Actually, he’s not lucky, just good. It's easy to say so, considering the songwriting on this album may be his strongest yet. Detailing the struggles of his people in the South and his own internal journey, Jones does a great job of using themes like community to fuel feelings like hope for a well-rounded yet fittingly unfinished narrative. While the narrative is cohesive, the stylistic choices are not. On the first three songs, Jones touches on three very different sounds. This can be done really well, but in this case it feels disjointed. “Gerri Marie” is a solid intro that sets a scene and vibe with Durand Jones and a piano. That’s it, but its simplicity is its strength. However, post the first interlude (track 2), this vibe is deleted by “Lord Have Mercy”. A jaunty sort of Bayou Rock song, it’s the first of a new Durand Jones sound, one that needs a lot of work. It effectively introduces the most unfortunate recurring theme of this album: poor instrumental production and vocal mixing. The instrumental layering is cluttered and a weird buzzy finish lays over everything, including Jones’ vocals. Yet, on the very next track, “Sadie”, Jones temporarily abandons his theme of musical mediocrity. It is a strong song in every way. Great hooks, choruses, and instrumental backing and breaks, it has all the makings of an Indications classic. So why not make that a theme? I think a look at track 5 can answer that question. "I Want You” is another Indications-worthy track musically, as well as a Jones masterclass vocally. He mixes in powerful background vocals at just the right moments and spoken pieces mid-verse, two things seldom seen, if ever, with his band. He is in his creative zone, stretching his attention to every aspect of the sound he wants to encapsulate. But, stretch is the key word. For the length of the song, every couple beats, there is a strange crashing sound. It's some sort of percussion, and it should have been any other kind of percussion, as keeping pace seems to be its sole purpose. But he chose this sound. A decision that doesn’t ruin the song completely, but one that, along with an occasionally jumbled bottom to the mix and an instrumental layering failure down the stretch of the song, can remove a distracted listener from the otherwise powerful tune. Durand Jones is a member of a great band, and great bands don’t let things like that slip through the cracks, but once again, he is just one man. These seemingly careless miscues continue through the album, and honestly, highlighting all of them is trivial. From the drowning of a strong communal vocal performance on “Wait Til I Get Over” to the alarmingly unfit feature on “Someday We’ll All Be Free” or the failure to catch a groove on “Letter To My 17 Year Old Self”, Jones misses opportunities to properly support his beautiful writing and vocal performances. However, he does not miss on “That Feeling”. Durand Jones is a bisexual black man from the South. That means both everything and nothing to this song. To my knowledge, it’s the first time he sings about another man, and he does so against that backdrop he spent so much time constructing. However, as he eases into this particular narrative, everything fades away. It doesn’t matter who he is speaking to, it’s beautiful. A story of wasted potential, told through a nostalgic lens, with that familiar hope and determination, “That Feeling” is love. It’s also the best song on the album. With raw vocals and a classic instrumental intro, Jones eases into the rhythm just as he does the narrative. Layering keys and guitar, he elevates the sound to the highest point of the album in stride with his words, before stripping it down to deliver a message: he and the love inside him aren't going anywhere. With the message delivered and the love story completed, Jones takes the last minutes to elevate one more time, leaving the audience with a powerful combination image and sound. Jones thrives in simplicity on this album, “Secrets” is a good final example. A piano and some voices are all he needed to close his 2023 release. Waves crash against a shore for the last two minutes, washing away the song and this, simply put, unique album. I hope it's unique for several reasons. First, Durand Jones is better than this. But, on top of that, he needed to get something out of his system. For his sake, I like to think he’s satisfied that need, at least enough to clean up any remaining loose ends with The Indications (in more ways than one). This album is messy. The production and mixing are scarily bad at times, as if he needed a reminder that the old days are supposed to be represented by the narrative, not the sound equipment. Jones also struggles to hitch a stylistic ride all the way through. This is fine for an EP, but for an album with a decisive theme, flow is essential. Yet, while it's easy to nitpick my way through this album, it's also easy to get lost in what Jones does well. He is an exceptional songwriter, a skill rivaled only by his vocal abilities. Those two strengths specifically can carry an album, and this is certainly one of those cases. I love Durand Jones, I am excited to see what he does next, and I believe the worst he can do is average. This album, all things considered, is just average. Wait Til I Get Over is a 5.25/10.

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

EXHIBITS THESE PIECES ARE NOT FOR SALE. INDIVIDUAL INQUIRIES TO BE MADE WITH ARTISTS DIRECTLY. TIA NICHOLS Nichols explores Black identity, ancestry, surrealism, and AfroFuturism. She is interested in how we impact and are impacted by environments. moemoeproco@gmail.com

These Archives hold all of The Culture article ever written for The Culture Gyre. TABS ON TIGERS 5 TABS ON TIGERS 4 TABS ON TIGERS 3 TABS ON TIGERS 2 TABS ON TIGERS 1 TOP ALBUMS OF 2024 MALIBU 10/5/24 COVERAGE VOL. 3 MUSICAL MATCHMAKER VOL. 1 GRAMMYS ON TRIAL TOP ALBUMS OF THE YEAR GRETEL HäNLYN 11/11/23 THE POP SHOP ROCK'S PATH FORWARD COVERAGE VOL. 2 ENOUGH CHEER WALK WITH ME 4 WALK WITH ME GRAMMYS 2023 WALK WITH ME 5 COVERAGE VOL. I WALK WITH ME 2 PUTTING YOU ON THREE 2022'S TOP 10 ALBUMS

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.

GRAMMYS: IDEALIZED BY: Ian Sherry 2/3/2023 On February 5 the 65th annual Grammys will be held in Los Angeles. As usual it's no surprise that this year's Grammy nominations have been somewhat controversial. When evaluating an incredibly broad field such as an entire genre of music, narrowing candidates down can be difficult, however, they always manage to do worse than I expected. This year’s disturbing choices include the nomination of the song “abcdefu” by Gayle – a TikTok song that I used to be happily unaware of – as well as DJ Khaled’s bloated and overplayed album God Did, Jack Harlowe’s bland attempt at a reflective album, and a whole plethora of baffling exclusions. Now it's time to make up for their incompetence and soothe the frustrations of the die-hard music fan. I picked the most worthy artist from each category, and then I picked the artist I believe should win regardless of whether or not they were nominated. I am sharing my rationale for the four most prominent awards and providing listings for any remaining categories I feel qualified to pick. I am primarily selecting who I think is deserving to win, but I’ve included predictions as well. Enjoy. Record of The Year I will admit, right out of the gate, this is the hardest category to pick. The difference between song of the year and record of the year is that SOTY is more focused on songwriting and message, while ROTY is evaluated purely on the musical composition. This makes for an extremely broad category, so I am not upset by the ROTY nominations. My selection from the Grammy nominees would be Beyonce’s “BREAK MY SOUL”. It is an upbeat genre crossover powered by the incredible talent that is Beyonce, and it deserves the praise it receives. My personal selection is “born yesterday” by Quadeca. His 2022 album I Didn’t Mean To Haunt You is a favorite of mine and this song encapsulates the emotion and musical metamorphosis showcased throughout this landmark release. Either way you can’t go wrong, and in a strong musical year like this, you shouldn’t. Best Of The Nominees: “Good Morning Gorgeous” - Mary J Blige My Pick: “Born Yesterday” - Quadeca Prediction: “BREAK MY SOUL” - Beyonce Album of The Year I think there is a clear issue when none of the AOTY nominees delivered the best album in their given discographies. The only new album you could argue for is Beyonce’s RENAISSANCE. So, Beyonce is 2/2 to start. However, as much as I loved this album, it is not my choice for album of the year. While RENAISSANCE has many great tracks, some stick out in a bad way. By contrast, Wet Leg by Wet Leg is an album with no weak songs. This British duo took the Indie music scene by storm in early 2022, and for good reason. Their debut project is a masterclass in consistency, creativity, swagger, and sonic flexibility. I could go on and on about what makes Wet Leg great, but what’s more impressive, is I can’t come up with a reason they aren’t. This is the album of the year and if you haven’t heard it yet you need to. Best Of The Nominees: RENAISSANCE - Beyonce My Pick: Wet Leg - Wet Leg Prediction: RENAISSANCE - Beyonce Song of The Year The Grammys made it easy on me here. In a category that leans towards the songwriter, Kendrick Lamar is always a great candidate. His song “The Heart Part 5” sent a major message to his fanbase and the industry as a whole. He seamlessly addresses many societal issues which he considers fundamental and he does so in a concise fashion accompanied by a powerful music video. Fittingly, he samples Marvin Gaye, one of the greatest voices of commentary in our country’s long cultural history. The way Kendrick has performed over the last decade, I believe it's his time to enter that conversation as well, and a well-deserved win this year would only add to his recognition and multifaceted influence. Best Of The Nominees: “The Heart Part 5” - Kendrick Lamar My Pick: “The Heart Part 5” - Kendrick Lamar Prediction: “The Heart Part 5” - Kendrick Lamar Best New Artist To me there is a clear winner here. Wet Leg is Grammy-nominated and any other pick feels ludicrous to me. My one note is this: they will not pick Wet Leg. The clear trend in this category is selecting the most popular, mainstream, semi-new pop/hip hop artist available. There are plenty of well deserving artists that have lost or been fully excluded from nominations. Just in the last ten years, all of the following artists lost: Frank Ocean, Kendrick Lamar, James Blake, Anderson .Paak, Lil Uzi Vert, SZA, Greta Van Fleet, H.E.R., Black Pumas, Rosalia, Phoebe Bridgers, Kaytranada, and Baby Keem. And, those are just the artists that were nominated. To be fair it's an incredibly broad category, but the trend clearly points to this year's winner: Latto. Oh well. Best Of The Nominees: Wet Leg My Pick: Wet Leg Prediction: Latto If I haven’t lowered expectations too much, please enjoy this year's Grammys, and the following categories I have selected. POP Best Pop Solo Performance Best Of The Nomi nees: “About Damn Time” - Lizzo My Pick: “Sunshine” - Steve Lacy Prediction: “As It Was” - Harry Styles Best Pop Vocal Album Best Of The Nominees: 30 - Adele My Pick: MOTOMAMI - Rosalia Prediction: 30 - Adele DANCE/ELECTRONIC Best Dance/Electronic Recording Best Of The Nominees: “BREAK MY SOUL” - Beyonce My Pick: “BREAK MY SOUL” - Beyonce Prediction: “BREAK MY SOUL” - Beyonce Best Dance/Electronic Music Album Best Of The Nominees: RENAISSANCE - Beyonce My Pick: RENAISSANCE - Beyonce Prediction: RENAISSANCE - Beyonce ROCK Best Rock Performance Best Of The Nominees: “Wild Child” - The Black Keys My Pick: “Taking Me Back” - Jack White Prediction: “Broken Horses” - Brandi Carlile Best Rock Album Best Of The Nominees: Lucifer On The Sofa - Spoon My Pick: Lucifer On The Sofa - Spoon Prediction: Lucifer On The Sofa - Spoon ALTERNATIVE Best Alternative Music Performance Best Of The Nominees: “Certainty” - Big Thief My Pick: “Certainty” - Big Thief Prediction: “Certainty” - Big Thief Best Alternative Music Album Best Of The Nominees: Wet Leg - Wet Leg My Pick: Wet Leg - Wet Leg Prediction: Fossora - Bjork R&B Best R&B Performance Best Of The Nominees: “VIRGO’S GROOVE” - Beyonce My Pick: “VIRGO’S GROOVE” - Beyonce Prediction: “Here With Me” - Mary J Blige Best R&B Album Best Of The Nominees: Candydrip - Lucky Daye My Pick: age/sex/location - Ari Lennox Prediction: Good Morning Gorgeous - Mary J Blige RAP Best Rap Performance Best Of The Nominees: “The Heart Part 5” - Kendrick Lamar My Pick: “Walkin” - Denzel Curry Prediction: “The Heart Part 5” - Kendrick Lamar Best Rap Album Best Of The Nominees: It's Almost Dry - Pusha T My Pick: It's Almost Dry - Pusha T Prediction: Come Home The Kids Miss You - Jack Harlow

Did you know that Lana Del Rey likes exceptionally long titles BY: Ian Sherry 4/23/23 On March 24, Lana Del Rey released Did you know that there’s a tunnel under Ocean Boulevard. Lana is one of the strangest figures in music today. She made waves upon entry into the market and sparked backlash over her apparent status as an industry plant. While this rubs some people the wrong way, her fans are some of the most dedicated in all of music. They feed into her ever-changing and intentionally unique persona - and vice versa. The result is a catalog mix of inconsistencies, originality and creativity. For me, this is an overall positive characteristic, but it does complicate any quality-based judgments of her work. I generally believe that in cases like this (where the artist is weird outside the music, but not necessarily in it), it’s best to separate their public personas from the music to avoid over or under-crediting them based on personal bias. To be clear, her personality enhances the tone of the album, something that many artists struggle with. However, I don’t often find a significant alteration to the music itself. Yes, she has evolved as an artist, but the stylistic shifts from album to album have never been groundbreaking to me. Did you know that there’s a tunnel under Ocean Boulevard is easily better than her previous two releases, and while it isn’t a huge creative step forward, it innovates enough to please her hungry audience, and it includes some of her cleanest, well-rounded tracks to date. Lana’s atmosphere of choice on Did you know that there’s a tunnel under Ocean Boulevard is one of melancholy and nostalgia from the perspective of a woman intent on letting her emotional trauma fester through 77 minutes of painful memories. Her storytelling is, in short, unique. She carefully constructs emotionally raw narratives that the listener can feel. They’re often conversational, a dialogue between her and another person, sometimes an old friend, family member, or romantic partner, sometimes herself, and sometimes nobody at all. Lana’s storytelling, combined with her polished voice and attitude of comfortable familiarity, paints blurry images that must be clear to somebody - but we are not somebody. This atmosphere Lana constructed is present on all of her best songs on the record. I believe “Sweet”, “Kintsugi”, and “Fingertips” are some of the best examples, but excluding a select few, you can feel it in every song. In the past, Lana has struggled to lock into one really strong sound. On Did you know that there’s a tunnel under Ocean Boulevard , she does. However, her ability to mix things up without departing from her theme or comfort zone is what elevates this album. On “A&W”, the lengthiest song of the album at 7:13, Lana recounts short memories of past experiences, how they’ve soured her outlook on love and herself, and how she’s now a less worthy romantic acquisition. It’s a dark look into the troubled mind of someone lacking self-esteem and their subsequent inability to deal with emotions or even basic facts in a positive way. However, this outstanding narrative aside, what stands out the most to me is Lana sounding like Lorde. The first 4 minutes are a steady instrumental performance from a piano and acoustic guitar fronted by Lana’s meandering vocals, but the last three minutes break into something entirely different: the production suddenly switches to electronic, with base hits and a drum machine coming into play along with a buzzy finish on Lana’s up-pace vocals. It is very reminiscent of Lorde’s 2013 hit album Pure Heroine . From the building up and stripping down of the production to Lana’s repetitive lyrics and layered vocals, the finish to “A&W” is a shocking and well-executed finish to an emotionally raw song. This isn’t the only instance of Lana dipping into outside influences on her 2023 project. For instance, “Grandfather please stand on the shoulders of my father while he’s deep-sea fishing”, yes that’s the title, reminds me of Kate Bush in a way. But what impressed me, even more than her incorporation of different sounds, was her use of features. Jon Batiste’s feature on “Candy Necklace” is the album’s first. I love Batiste, so I was excited to see how they would come together on this song. At first I was disappointed, as he only plays piano behind her fairly repetitive vocals. But by my third listen I changed my mind. Batiste is a genius with his hands on a piano, and his performance provides a unique backing to a straightforward, but enjoyable performance. They don’t always blend seamlessly, but there are successful moments when Lana changes pace or volume in unison with Batiste’s piano runs, which adds a very unique quality to the song. “Paris, Texas” feat. SYML, “Let The Light In” feat. Father John Misty, and “Margaret” feat. Bleachers are three of the strongest songs on the album. “Paris, Texas” features a simple instrumental accompaniment from SYML. His feature doesn’t add to the song as noticeably as the Batiste feature does, but it is one of the most well-done songs in Lana’s discography and might be my favorite on the album. “Let The Light In” is the most traditional feature on the album. Lana and Father John Misty duet on the chorus, adding to the fullness of a touching song while still allowing Lana to carry the personal and nostalgic narrative on her own. “Margaret” is similar to “Let The Light In”, but with a more dynamic performance from Lana. Bleachers plays a very similar role to Father John Misty, helping on the chorus and providing a point of return in the chorus for Lana to take the verses to different places. She shows more range on this one song than the rest of the entire album, and the instrumental is much more upfront in certain parts of the mix, elevating the song above the surrounding tracks. Without Bleachers holding down the chorus and providing a more mellow vibe, the exceptional contrast of “Margaret” wouldn’t have been possible. Lana Del Rey was clearly in a creative place for this album. While her creativity manifests itself in the album's best moments, it’s also evident in what I consider to be her biggest mistakes. The first shortcoming, “Judah Smith Interlude”, is an instrumentally backed rant that forces the listener to analyze it for any possible meaning before inevitably giving up before the 4:37 is up. I don’t know what she was getting at here, but I do know it doesn’t fit. Just two tracks later the “Jon Batiste Interlude” is a much better version. His piano backs up a distorted recording of his voice with some Lana vocals in the background. It feels like much more of an instrumental interlude than “Judah Smith Interlude”, and it’s a welcome addition to the flow of the album, unlike its predecessor. The second shortcoming comes in the last three songs. To be fair, I like Lana’s decision to shift from a mostly live recorded instrumental album to a more electronically produced finish starting on “Fishtail”. There are great moments of vocal distortion and sonic layering, but “Peppers” is simply out of place. As the second-to-last track on the album, it has a completely different vibe in the wrong way. In a different context it is a good song, which is why I wish she had released it as a sort of red herring single. It has a catchy chorus and some classic late 2000s vocals, which is exactly why it makes no sense here. Although I like “Peppers” on its own, I am baffled by its inclusion on Lana’s otherwise cohesive and focused 2023 project. A final minor critique: Lana’s verses don’t alway distinguish themselves from one another or the chorus because of the understated delivery. But, this is more of a preference issue on my part and a stylistic choice on hers. This album, in my mind, is an anomaly. Lana is overly-focused on a singular theme, something that has hurt, even delegitimized, some of her previous work. But, this time it is done perfectly. Did you know that there’s a tunnel under Ocean Boulevard combines some of Lana’s best songs with her most beautiful moments ever. Without “Judah Smith Interlude '' and “Peppers”, this album really flirts with perfection. Ironically, Lana Del Rey, who is often considered a semi-niche artist, has delivered an album I would genuinely recommend to nearly any audience. A simple rating can’t encapsulate how much I like this album. Did you know that there’s a tunnel under Ocean Boulevard is an 8.75/10.

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