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.

Flowers By Ian Sherry 7/16/2025 Durand Jones & The Indications are a staple in contemporary soul, and Flowers is exactly as good as it should be. Along with Thee Sacred Souls , Durand Jones & The Indications are leading a small-but-steady wave of old-school soul that began rolling at the end of last decade. Composed of the excellent dual vocalists Durand Jones and Aaron Frazier, plus the band they formed in college, The Indications have certainty in their musical identity, given their control over its development and a keen awareness of their collective comfort zone. That doesn’t guarantee a successful project though - the next step is always the trickiest. Their last effort, Private Space (21) , is proof of that. Feeling the need to branch out stylistically, more prominently feature Aaron Frazier, and cover a variety of other bases, The Indications produced a solid record, but not their most cohesive effort. Since then, Durand Jones got a load of personal material out on Wait Til I Get Over (23) , and Aaron Frazier released his second solo project last year. The healthy relationship they’ve curated as co-creatives is richly evident in the band’s re-amped fusion this time around. Flowers ’ opening grooves aren’t standouts, but they establish the gentle trotting soul sound that became this record’s sweetspot. The fifth track, “Flower Moon,” is the best example of the initial safety-net-soul tunes, but the following “Really Wanna Be With You” is where the record takes off. Track 6 marks the album’s first noticeably gutsy undertaking. Staying within the already-established feel, The Indications began to focus on their more elaborate structural ambitions. Jones and co. are no strangers to a pre-chorus (or drawn-out songs), but this song features a sizable pre-chorus-chorus combo on two separate occasions in addition to a few strong verses. That kind of macho songwriting is very reminiscent of soul’s prime – but one name in particular springs to mind. If Durand Jones wasn’t intentionally channeling Isaac Hayes on this churning soul tune, Ike’s spirit was working through him. While The Indications don’t possess the firepower of a prime Memphis soul section, they clearly understood the assignment and with Jones pushing his vocal limits as the song’s frontman, the result is a standout track. Now Flowers is rolling. The album’s 7th track is the pinnacle of The Indication’s sound to date. “Been So Long” m akes excellent use of all the tools at the band’s disposal. Aaron Frazier is listed as the league vocalist, fitting for the songs initially dreamy feel. As the song progresses, however, Frazier fades more frequently into a host of mellow voices. That communal feel creeps up on the listener throughout the song, removing the focus from the primary vocalist and spreading it across all aspects of the music, from the subtly growing instrumentals to the lyrics of the 3rd and 4th verse (which are by far the catchiest on the album). Then, all too soon, the 3:16 has elapsed This band has a habit of getting stronger as they go. The balance between Frazier and Jones, which they wrestled with last album, has never been a combative issue to my knowledge, just a good problem to have when it comes to making cohesive creative music. The tentative middle ground between the two talented vocalists is an easy place to settle when it comes to using both to the best of their abilities; this album’s first 5 songs are evidence of that. However, as Durand Jones & The Indications dug deeper conceptually on the back stretch of the LP, the 2 talents began to find their perfect balance. Following the feel-good track 7, Aaron Frazier delivers a spot-on Smokey-like soul performance on “Everything.” Officially swapping slappers, Jones responds with a classic Indications-style socially conscious anthem in “Rust and Steel.” From there, Frazier and Jones share the performative load with ease, seamlessly combining efforts on the rangy soul track “If Not For Love” (which comes complete with a sick sax solo) and the well-placed closing track “Without You” . Flowers has left me with very few complaints, and believe it or not, I love not complaining! It was clear from start to finish that Durand Jones & The Indications had a firm grasp on their strengths, an awareness of potential weakness, and a concentrated will to create a product with those awarenesses in mind. The band’s muted sonic palate was a perfect match for all the album’s undertakings, providing the old-school feel and preventing the band from feeling thin in comparison to their soul predecessors. The songs feel intentionally arranged, and none are worth skipping. It’s an oh-so-satisfyingly complete album, and even without the old-school style, that makes this record a classic. Flowers is a 9.2.

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

Igor: How Did It Age? By: Ian Sherry 11/18/2024 I once saw a clip of a radio show or something (I wish I could remember to give proper credit) where this guy did impressions of rappers and then explained how different artists rap from different places - Biggie from his stomach, Tupac from his heart, JAY-Z from the top of his throat - you get the idea. He had clearly studied their creative process with his ears well enough to replicate it. Impressive. When it comes to Tyler The Creator (who raps from a variety of places), I’d like to focus on a different part of the creative process - inspiration. Before you can rap or pursue any creative endeavor, you have to draw inspiration. In the morbidly broad field that is ‘music’, there is a wide variety in quality depending on the alignment of motivation, setting, and talent. Not all of these alignments are made equal - the periods where an artist is sufficiently motivated in an inspiring setting result in the very best music, and they don’t last forever. Tyler The Creator is a period artist, meaning he has encountered and capitalized on several crucial moments - several alignments of those 3 crucial factors - throughout his artistic career. While it’s hard to determine from the outside looking in and only he can truly know where his music comes from, it seems obvious that Tyler had a shift in inspiration between his Odd Future era releases and his coming of age record Flower Boy . Following that jump in maturity, with his motivation, setting, and talent level evolving once again he embarked on his 3rd, most inspired period: Igor . As we border on what could be the horizon of a new era with his latest release CHROMAKOPIA , I thought it was the perfect time to revisit Tyler’s unforgettable 2019. IGOR: How Did It Age? What I’m ultimately trying to express with my ‘period’ concept is that an artist's ability to draw inspiration has a major impact on the potential of the product. Tyler is just too good of an illustration: the Igor period seems to have lasted just one year and was the result of a creative wildfire that began to kindle in the artistic rock bottom that many perceive Cherry Bomb to be. In contrast, Call Me If You Get Lost was a recovery effort in the aftermath of said wildfire. Following what I can only imagine were life-altering changes that came with his sudden emergence on Pop Culture’s center stage and the subsequent pandemic, Tyler spoke about hitting a creative rut. He also mentioned that a certain Westside Gunn helped him find inspiration again, hence the boastful pseudo-fashion rap nature of his 2021 album. Gunn is powered by this cycle of professionally inspired inspiration that consists of finding joy in success, remembering and reminding how he came upon that success, and using all of that as motivation to go get more. Tyler tapped into that cycle of success and leaned safely into his strengths on the last record; that’s why I loved it, but that’s also why it isn’t an era-defining type of record. He’s not Tyler The Gunn, he’s Tyler The Creator, and Tyler created Igor . If it’s so great why do I need to revisit it? Well, now I have a confession to make. Igor really is all the things I built it up to be, but recently I had this startling thought: is it actually good music? Pundits were quick to jump on the freight train that was Tyler’s uber-alternative new sound for a variety of reasons: first, progressive-edged subject matter gives any project a boost, second, his metamorphosis from an off-color goofball rapper to a self-serious embodiment of his latest album was shocking, and lastly, the sound itself is so intentionally abrasive and self-aware it becomes difficult to critique. Of course, the critics could have said something like ‘This music sucks because I don’t like it’, but that’s not why they get paid the big bucks. I joke, but it is actually that last point I’d like to revisit. Despite my readiness to be blown away by it, I remember being a little unsure if I even liked the album when it first came out. I’d never heard anything like it, and I still really haven’t, but there everyone was celebrating it as one of the decade’s best musical moments, so I followed suit. Next thing I knew, I was watching YouTubers break down the album’s storyline. That’s because in 2019 being a fan of Igor was a lot of fun. The communal excitement music can generate is infectious, and nostalgic memories of this album’s fever-pitch reception will always positively factor into its aging process, but I wonder if retrospect will show the same kindness to the sound itself. Now, if I’ve properly introduced this album, you ought to be wondering was it the excitement that elevated the album to an alt music masterpiece, or does it truly measure up over time? Let’s dig in. To appreciate Igor you must first digest its sound. Some do quicker than others, and I think that depends entirely on your own personal tastes. If you listen to a lot of Tyler’s music, you can get a good idea of where the Igor sound sprung from, but if this album were your first encounter with Tyler, there’s a much wider variety of ways you might experience, understand, and classify it. For example, I’m listening to Portishead as I write this article and there are definite similarities between their more hip-hop-aware periods and Tyler’s more atmospheric trip-hop style. One is a British rock band, the other an American rapper who’s banned from the UK, but their sonic spectrums overlap to a point. I could easily imagine being a big Portishead fan listening to Igor for the first time and experiencing track 1 as a popified relative of my favorite band. That’s because “IGOR’S THEME” starts the record off with a heavy-handed display of the big droning synths, 808s, and heavy distortion that give the album its edge. It also establishes a noticeably high pace that adds to the mystique of the sound and can be adjusted to aid the albums storytelling through tone. All that is to say, it’s the perfect song to start the album. Those kinds of project-focused decisions must’ve come so easily to Tyler The Creator in 2019. Most transitions on this album are fairly seamless and the outliers feel intentionally excused for one reason or another. Track 2 “EARFQUAKE” , the album’s biggest hit, introduced Igor ’s newly established stylistic palette to the mainstream, and, in tandem with Playboi Carti , Tyler rode his unconventionally altered vocals to number 5 on the Billboard before transitioning effortlessly to track 3. “I THINK” is built with a lot of the same bones you’d find in Kanye West’s prime production and begins to settle subtly into Tyler’s more familiar poppy alt-rap stomping grounds. Post the smoothly incorporated interlude track 4 , Tyler remains in his wheelhouse on “RUNNING OUT OF TIME” . Having established that sonic edge in track 1, given the album a sound-defining candidate in track 2, and maintained the usage of his quirky new vocal stylings throughout, Tyler The Creator already cultivated a potent sonic theme by the 5th song. Because it's so strong, that theme, or at least its influence remains present even on a sonically lighter song like “RUNNING OUT OF TIME”, building tension that draws the listener in and elevates the effectiveness of the song's progressions. That theme’s constant presence also makes it easy to jump into Igor mode. For instance, on track 6, “NEW MAGIC WAND” , as Tyler The Creator’s alter-ego permanently enters the album’s plot, he returns to the heavy-handed electronic atmosphere of “IGOR’S THEME” to go with a grinding horrorcore-esque rapping performance. The stylistic flexibility Tyler allowed himself made it possible to place songs like those back to back. Without the ability to make tough transitions work, he couldn’t have properly communicated the topsy-turvy love affair Igor intended. "A BOY IS A GUN" Despite all the superlatives, sometimes I get the feeling that this is less of a perfect album, and more of a well-executed gameplan, one that’s impossible to poke holes in. He chose an intentionally imperfect sound that negates any criticisms of sonic unpleasantries, took the liberty of dipping into his comfort zone despite the ambitions of his new sound, aligned it with a lyrical plot that supports his musical decisions, and gave songs that wouldn’t necessarily stand up well on their own a slot that allows them to thrive. There’s lots of circumstantial evidence building to support the idea that this is more of a great plan than it is a great album, so this is when I point to track 7. When I review albums, I review just that - the album. My focus is on the strength of each song of course, but as it pertains to their inclusion in the whole. Rarely do I give extended time-of-day to any particular song because it only represents a fraction of the total experience. I prefer it that way because a single song in a vacuum can become exhaustive. This however is a special occasion. “A BOY IS A GUN” arrived at a crucial point in the album. Following a back-to-back display of songs on polar opposite sides of the album’s sound, Tyler The Creator delivered the perfect semblance of their pieces. It has the build of a hip-hop song as he immediately establishes the beat and hook, making transitions between well-rapped verses seamless for the length of the song. The lyrics excellently navigate the rising action of his album-long romance with the vicious honesty of a man who’s finally out of patience. His herky-jerky flow makes for addictive listenability, as does the stop-and-go he expertly wove into the structure of the song to maintain tension and therefore your attention, leaving you susceptible to its many instrumental shifts. “A BOY IS A GUN” is as smooth, challenging, and unique as any song on the album, making it the perfect Igor song. ...anyway Here’s a metaphor for all you drinkers! Listening to “PUPPET” on the tail of the best song on the album is my version of a terrible hangover. Is it that bad of a song? In the grand scheme of things no, but it highlights everything I struggle with on the album. Its lack of pace creates a subsequent failure in the Igor formula. With more time to process, it's easy to hear some of the iffy instrumental quality - little imperfections that Tyler swept under the rug of electronic commotion in order to achieve a larger-scale sound. On top of that, the Kanye feature is complete garbage that Tyler attempted to fashion into usable material, and the bridge is a turd. I could go on but I won’t - it’s about the album remember? The singular skid of the album continues with “WHAT’S GOOD” (the song sure isn’t), which stands as Tyler’s only production miss on the record. It fails to catch any groove and rotates unsatisfyingly between two beats I really don’t care for. Luckily, with his duds out of the way, Tyler was ready to finish the album strong. The final three songs are a perfect example of the album supporting the songs. They all exemplify the album’s sound in some way or another, benefit significantly from their placement in the narrative as well as the tracklist, and have greater relevance within the complete package than they would on their own. Track 10 is “GONE GONE / THANK YOU” . Igor ’s falling action begins with a great build. The intro draws you in and the thankfully listenable instrumental is nicely accompanied by his chipmonked vocals. In my opinion, this is one of the few occasions on the album where a strong performance in his natural voice wouldn’t have sufficed or been preferable, as his autotune allows him to marry with the music in a way he couldn’t have otherwise. Then, I think just for me, he spat a great verse in his normal voice before giving way to the second part of the song which feels like a glorified outro for the first. “I DON’T LOVE YOU ANYMORE” represents the end of the romance, and sets the final stage with one of Tyler’s cleanest trip-hop/alt-hip-hop cuts to date. Then lastly, “ARE WE STILL FRIENDS” takes that listenability to the next level with a bright little soul sample that lays the groundwork for its lengthy build. It winds up and breaks itself down to some increasingly faint electric guitar, before roaring back one more time for the album's grandiose, cinematic closing moments. It’s a fittingly overdone last track, in hue of “Stand Tall” from Childish Gambino’s masterpiece Awaken My Love , and it brings Igor to a proper end. It’s time to return to that question I made you pose to yourself in the beginning (moment in time or masterpiece?). As a person who was there in 2019 experiencing Tyler’s takeover, its impossible to separate the album from its initial existence. The obsessive fanfare elevated Igor at the time, there’s no question, but I have my own question. If it can elevate it then, why not now? If an album relies on audience buy-in to thrive, as long as the audience keeps buying in, it remains a validated piece of art - it works. Five years after its release, Igor still works. I was pleasantly surprised to find that an album whose sound was such a product of the moment has maintained its complexity. I was afraid that by digging in I might start to see through the world Tyler created, that I might not be able to get past surface-level blemishes. To an extent the aging process isn’t preventable - it comes with familiarity - but, I’m very familiar with Igor, and while it might not necessarily soar to the heights it did in its early ragingly successful existence, it will survive. That’s because no matter how this particular sound develops, regardless of who might come along and do it better, and despite the occasionally spotty quality that comes with carving out a new niche, the album’s greatest strengths will remain unaffected. It is a story with a beginning and end, an all-encompassing thematic undertaking, a meaningful and relatable message, and a complete intentionally unified piece of music. Igor is an 8.5 .

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.

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.

OBSESSION, NEXT-GEN HORROR WRITTEN AND ILLUSTRATED BY: DAWSON SARCONA, 6/10/2026 Recent horror blockbusters have the box office in a chokehold, due in large part to the genre’s popularity amongst upcoming generations. The youthful zeitgeist is horror-acclimated, and Curry Baker’s Obsession is the latest and loudest proof of that. Obsession has no shortage of achievements after just three weeks in theaters. For a movie with a budget as low as $750,000, Obsession has blown its expected earnings out of the water as it’s now on track to reach $250M (or more) before the end of its theatrical run. Further, if you look at the weekend-to-weekend growth of Obsession, you'll notice that the lowest earnings are in its opening weekend, before growing 30% in week two and an additional 10% in week three, implying cult-classic momentum. The last film to behave as such at the box office was all the way back in 1982, Stephen Spielberg's classic E.T. So what is so great about Obsession? Well, to put it plainly, everything. That's right, ladies and gentlemen, I think we might be dealing with a near-perfect movie. Now, I will say, I have seen this movie 3 times in theaters, so I've gotten the privilege of looking back at it with the perspective of already knowing what happens. One thing that really stood out to me on my 2nd and 3rd watch was how well each scene served the story in getting us to the ending. Never before in my life have I seen a movie with such a tight script in which literally every single scene serves a distinct purpose. I genuinely believe that this film could not be cut any further and still tell the story it does so effectively. This is likely due to director Curry Barker's experience as a YouTube/TikTok sketch comedian. As a part of the Duo “That's a Bad Idea,” Barker mastered the craft of building short-form sketches and content. Due to the limited attention of viewers on these apps, Barker has gained an eye for what's necessary to keep the audience's attention and the story constantly flowing. These skills are put to expert use in the writing, directing, and editing of this film, all of which he did himself. SPOILER ALERT. The plot begins with a very simple concept: Bear makes a wish that the girl of his dreams, Nikki Freeman, “loves him more than anyone in the fucking world”. From here, Barker quickly distinguishes himself from the rest of the stories told under this Monkey’s Paw trope. As Nikki begins to become more and more obsessed with Bear, the story evolves into a horrifying tale of self-destruction and the extremes of co-dependency. I've always been a big proponent of horror’s effectiveness when it isn't explained. This is that to a T. Trying to assign logic to something supernatural often takes away the fear. Watching Obsession, it was very clear to me that Barker understood this principle. There is no explanation for how this wish magic works, or why it is that Nikki begins to get crazy and violent. Nor does it explain where the “real Nikki” goes during this wish. Instead, it just gives us little hints, moments of Nikki snapping back to reality, screams, outbursts, and indicators that something about this wish magic is cruel and terrifying. The use of ambiguity makes the movie so much scarier, and Barker has further gone on to say that he himself does not know and doesn't ever plan to create an explanation for these events. It's just spooky magic for spooky magic’s sake, and it works so well. Speaking of magic, Inde Navarrette’s performance as Nikki is something truly astonishing. Being able to play 2 distinct characters within the same movie is an accomplishment in itself, but being able to make them both distinct enough that the audience can instantly tell when either personality (Nikki or Wish Nikki) is on screen is something really special. The range of emotion Navarrette displays as both versions of Nikki is insane as a viewer, and it's because of her that this movie works. Every scary, uncomfortable, or flat-out violent moment in this movie hinges upon Navarette delivering, and boy does she deliver. This is hands down one of the best horror performances I've seen on the big screen, and the character will no doubt become a horror icon. While Navarrette is by far the breakout performance in this film, everyone who acts in this movie make great contributions. Michael Johnston as Bear does an excellent job grounding his character so we can see him constantly justifying his increasingly horrendous decisions. This allows for the slow-burning reveal that he may be the true antagonistic figure within the film. Megan Lawless and Cooper Tomlinson as Ian and Sarah are great supporting characters in this movie, and really help to make the friend group dynamic seem real and lived-in. Obsession is, without a doubt, my favorite movie of the year. The aesthetic, the lighting, the set design, the acting, the writing, the directing, all of it works so well to make this movie something really special. For me, Obsession is a 10 out of 10, and I am actively recommending this to anyone who is looking for a good horror movie. Baker’s arrival marks the latest in the YouTuber-to-horror director pipeline. Past creators like Jordan Peele (Get out, Us, Nope) and RackaRacka (Talk to Me and Bring Her Back) have taken this path to great success. YouTube has become somewhat of a crash course in movie-making, particularly for those who’ve grown up with it. Every few decades, Hollywood begins to die out and needs revitalization. We are in the middle of a major shift in the movie industry. Most moviegoers, including myself, now go to see the new film by their favorite director. The tabloid-driven Hollywood of the 90s and 2000s is fading. The directors, the creators, have become the new movie stars. I believe this is mainly because of the YouTube space. We have spent years with creators themselves, seen them grow, develop, and learn the difficulties that come with trying to make something that's your own. YouTube has become a training ground for creators and put them in the driver's seat. For these creators, it's not about pushing out a movie quickly to meet a quota; it's dedicating themselves to their art form. It's bringing Hollywood back to its roots and creating stories that are fun, entertaining, and expertly executed.

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

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 .

Return of the Clipse By Ian Sherry 7/23/2025 On July 11, Clipse returned with Let God Sort Em Out . One of hip hop’s greatest duos is back in all-time brotherly form. Before I share the upshot, let’s talk about the Fall-off. The gist is this: at some point every rapper hits a wall, loses the juice. After years in a game that demands killer instinct and inter-industrial connections, there comes a time when artist can no longer create in the rat-race-space that is hip hop. Did you listen to Music To Be Murdered By (20) ? That was a falloff. Did you listen to Donda (21) ? That was a falloff. Did you listen to Tha Carter VI (25) ? That was a falloff. Pusha T is 48 years old. That’s older than Eminem, Kanye, and Wheezy at the time of their respective Fall-offs, which only makes more impressive the fact that rap’s champion of old-school weight-moving is only getting stronger. Upon entering what would be a tricky period in the average rap career, Pusha T has released 3 consecutive catalog-topping records, and this time it’s a family affair. Sometime in the early 90s, brothers Gene and Terrance Thornton were kicked out of their family home, onto the streets of Virginia Beach when their father found a brick in his kitchen. Now living on the same streets they served, the brothers had no choice but to make some shit shake. Luckily, they had some talent tucked behind all the 1s in their pockets. With moving being their specialty, they soon discovered their ability to move people with their raps. As Terrar and Malicious tore across the VA underground, it wasn’t long before Pharrell made that same discovery. And the Clipse was born. The duo made an immediate impact on the 2000s rap landscape, locking down their place in Southern rap history and influencing the following wave of hip-hop-heads (Tyler The Creator especially) across their first two records. But as The Neptunes p assed on production responsibilities to Mr. Combs and the brothers’ life paths became, divergent their work together came to an end in 2010, with Pusha T entering the Kanye-sphere and Malice stepping away to find God and write his memoir. For a long time Clipse felt like a part of hip-hop history, a part of that time I just barely missed, a dynamic connection I never quite got to experience. Eclipses are a powerful rarity of nature: an otherworldly cycle beyond our control brings into alignment two massive looming figures in our sky, turning out our lights and placing the world on pause. Its been 15 years since the last Clipse, and the moment VA’s finest realigned, my world went on pause . 'Chivalry ain’t dead, you ain’t let her go alone, Found you in the kitchen, scriptures in the den Half-written texts that you never got to send Combin through your dresser drawer, where do I begin? Posted Noted Bible quotes, were you preparing then?. Malice’s words on “The Birds Don’t Sing” hit me harder than any other lyrics released this year, and they gave it to us in track 1. There’s not personal information readily available on the internet regarding the Thornton clan (a self-ensured blessing on their part I’m sure), which only adds to the mystique of Clipse as they dive into both family and personal matters for the length of Let God Sort Em Out . The record's first offering begins a pattern of ferociously confronting the elephants and skeletons scattered across the Thornton household, their beginnings which they’ve revisited in metaphor for years now – all with the help of John Legend's golden vocals. It’s a phenomenal first track content-wise as it flips the narrative on Clipse’ past from a place they escaped to a place they feel the need to revisit, with Pusha spewing his regrets from an apologetic place he’s seldom displayed and Malice recounting the tragic, consecutive passings of their parents with a special focus on his painfully retrospective appreciation for his father. Malice’s tirelessly constructed perspective works to offset his hotter-headed brother, deepen the album’s content, and link its chaotically corresponding takeaways. I had small but reasonable concern about the brothers’ chemistry, considering the 15 years that passed and the changes they’ve undergone. It seemed Clipse no longer had their collective focus, dope dealing, but in a satisfying show of maturity and a will to succeed, they found common ground. With their feet on familiar soil: the skateboard beats of the man who discovered them a quarter century ago, the brothers Clipse stand back-to-back ready to spit (with K Dot in tow). And as the second Pharrell instrumental rumbles to life, a storm of thought approaches. Scene by: Allie Larpenteur Clipse bursts into motion “Chains & Whips,” as lyrics slice through the air publicly eliminating internally burdensome and real-life targets alike. Kendrick Lamar drops in beside them to tack on a third fantastic verse – his relentless assessments of self and surroundings blend perfectly with his hosts, a pattern that’s common among this return album’s carefully sorted guests. Just like that, God’s sorting has sprung into full effect. The fashionista thug persona Pusha has been cultivating over his last two solo projects goes beyond lyrical content; his increasingly heady beat selection and ever-expanding industry access have allowed his sound to reflect this era of his career. Now, with Malice by his side, Pusha seems to have a reinvigorated sense of urgency in his words. Both brothers preach lifestyles, and while they differ in certain respects, they’re able to coexist within cohesive tracks thanks to a comfortable chemistry and like-mindedness in the most key areas. "M.T.B.T.T.F." is my favorite example. The underlying source of Let God Sort Em Out’s holistic synergy is Pharrell Williams. The sonic platform of this album exudes royalty and palpably high stakes – the perfect climate for Thorntons. Williams played big role in Pusha T’s recent stylistic progressions, and his wall-to-wall effort on this record only further solidified a sacred scene at the crossroads of contemporary hip-hop. It goes beyond banger beats like “Ace Trumpets.” The album feels like a collective vision. Take the flow from “M.T.B.T.T.F.” into “E.B.I.T.D.A.” : track 7 is a thumping beat. The choppy drums perfectly set up heavy bass drops, like tossing a ball up and slamming it down over and over and over as the brothers let their punches fly. Track 8 follows with Pharrell riding his light, spacey beat from the needle drop. His synth-work and atmospherics on “E.B.I.T.D.A.” replicate the elevated tension of a “Summer Madness” and maintain it as a backdrop for his fellow emcees. He is the glue and one of the many forces that brought these titans back into alignment. Following the seventh track, every song on the album has a feature. When track 9, “F.I.C.O.” presented a beat in the tonal valley between its successors’ sounds, Stove God Cooks swept in with the perfect hook to match. When Pusha laid down one of the hardest verse-chorus combos to start “Inglorious Bastards,” Ab Liva was there to deliver an on-par capping verse in a refreshing bassy tone the nasally Virginians lack. When Pharrell introed the eleventh track, “So Far Ahead” in his computer hip-hop gospel bag (which I could take or leave), he perfectly set up the sturdy beat drop into a relentless Pusha T verse. It worked so nice, they did it twice! (Which I didn’t need). This time dropping into a superior Malice verse, before trotting that flow-stopping chorus out one more time (which I really didn’t need, perhaps the only decision I disagree with record-wide). Nas stopped by quick on “Let God Sort Em Out/Chandeliers,” taking over the second half after a no-sweat-vet beat switch and riding a rolling beat for the album’s most memorable stand-alone feature. As the notorious number 13 rolled around, the sun started to emerge as "By The Grace Of God" introduced light to the previously stark sonic setting. The triumphant ending track finally eased the constantly applied pressure, allowing me to reflect on the album. And as I searched for chinks in the armour, I soon came to realize there are none. My expectations were massive for this record that I never thought I'd see, and my expectations were met. Does one small song-flow decision on a passable tune with great verses negate that fact? No. Let God Sort Em Out is a 10.

Pink Tape BY: Ian Sherry 7/16/23 On June 30, 2023, Lil Uzi Vert released Pink Tape. For those who don’t know, Lil Uzi Vert (they/them) is a rapper from Philadelphia. They also share a birthday with me! One of the champions of Soundcloud-Era hip-hop, which birthed numerous stylistic trends (namely widespread autotune usage), Uzi has carved a niche for themselves and their sound within the mainstream of rap music. This niche includes some of the most diehard fans in music today. Perhaps to a fault, Uzi’s fans will back them, and to their credit, they keep the masses on their toes. From getting a gem attached to their forehead, to their increasingly diverse musical endeavors, they know how to play the game. With their 2023 release, they’re doing exactly that: playing games. Lil Uzi Vert has had different variations of success throughout their career. They’ve proven, at times, to be a prolific hit-maker. Their 2023 single “I Just Wanna Rock” is a shining example of this. Uzi also has the ability to make a musically strong and conceptually cohesive album. Their 2017 Luv Is Rage 2 is fantastic. Uzi has it in them. Unfortunately, Pink Tape is a flaming heap of garbage. Uzi feels distracted. They feel lazy, but most of all, they don’t properly represent the talent that they possess. Nothing is more frustrating, especially as a fan of albums, than listening to one that could have been good. Uzi’s 2023 record displays nearly none of the finer points of album construction, but as a brief palate cleanser, here are some positives I dug out of the 26 song monstrosity that is Pink Tape. I have to acknowledge (and hold on for dear life to) the fact that Pink Tape is an aesthetic success. Uzi, who seems to try operating from a holistically creative space, often has an intriguing and carefully constructed public persona; a persona that I wish was more musically present. Uzi themselves are rarely present on their album covers, often opting for a cartoon version or something on the abstract side. In fact, the only album they’re physically present on prior to Pink Tape is Luv Is Rage 2. Unfortunately, the slight visual similarities do not mark a return to 2017 form for Uzi. To me, Luv Is Rage 2 thrives in consistency, they locked in on a style and beat it to death in the best way. Meanwhile, Pink Tape’s extremely limited strength is found in diversity. You may be saying ‘well of course there’s diversity, it's 26 songs long’. Don’t assume, Uzi will prove you wrong. In 26 songs Uzi managed to put together one truly compelling stretch of songs, and they did everyone a favor by grouping them together so we can conveniently skip the rest. Although Nicki Minaj and Don Toliver donated songs to the cause at tracks 11 and 20, Uzi’s solo success is limited to tracks 14-17. Out of 26. I’ll save you the finger math, it’s not a good ratio, but since I’m supposed to be covering the good I’ll start at “Nakamura”. Named for WWE star Shinsuke Nakamura, Uzi samples the wrestler’s entrance song. It provides the high-energy arena vibe they were aiming for, accomplishing something that Uzi chased unsuccessfully throughout the first 9 songs of the album. It’s nothing complicated, but combined with a solid vocal performance from Uzi, the result is a fun song. “Nakamura” had to be good because it's immediately followed by one of the most intoxicating songs of the year. “I Just Wanna Rock” is Lil Uzi Vert’s club masterpiece. It’s pure energy, it’s overly simple, it’s overplayed, it’s New Jersey club, it's what music has come to, but at the same time, it’s perfect. Uzi sticks with the club trap for “Fire Alarm” featuring Snow Strippers. The bass presence is essential on this track as is the feature. It brings more chaotic energy to Pink Tape, but this time, it's listenable. There is a way to execute organized chaos, and Snow Strippers may be better suited for that direction. Speaking of direction, as soon as Uzi starts to head in an interestingly cohesive one, they decide to drop in a little metal. “CS” marks a new direction for Uzi yet again. While it isn’t by any means polished, it's exciting to see Uzi explore a direction of interest to them when so much of the album is the same old sound with a different ‘attitude’ or a severe lack of bass. They switch up tempo and intensity frequently on “CS,” and while it doesn’t always flow particularly well, the autotuned vocals float nicely atop stripped down instrumental and contrast nicely with the heavy metal hook. Uzi goes for a metal sound twice more on this record. Both songs do a great job of making “CS” look masterful in comparison. The intentional unpredictability of Uzi is on full display from tracks 14-17, and while that doesn’t by any means redeem Pink Tape, it gives the audience something to take away. Unfortunately, my birthday buddy has given me a plethora of reasons to be disappointed this year. Much like Lil Yachty, who actually branched out this year, Uzi has a tendency to make some of the most repetitive music known to man. This can last a verse, a song, or an entire album. It’s certainly an issue on Pink Tape, and although it’s a stylistic choice, it still upsets me. The first nine songs of the album have lots of issues beyond repetition though, from borderline incoherent verses to low quality instrumental samples. What bothers me the most is the blatant lack of low-end to the mixes. There’s not enough bass, pure and simple. Bass is essential in Hip-Hop. It can hold together a beat, guide the rhythm, or even become the centerpiece in place of a traditional rhythm section, like contemporary Michigan rap production often does. Uzi and his football roster of producers seem to have forgotten that until track ten. Nine consecutive bad songs to start a 26 song album! I can’t speak to whether or not this is a stylistic choice, but I don’t care. I can’t look past this level of questionable output from supposedly professional studios, much less listen to it. Uzi littered bones for me to pick throughout the entirety of this album, but the worst of all is the overarching issue of album construction. There are endless factors that go into the proper construction of an album; it’s an artform in itself. Uzi checks one single box with Pink Tape: a good cover. There’s different approaches to making an album. I split them into two categories. An album can be a simple collection of musically cohesive songs. Whether it transverses genres as it progresses or sticks in the same vein, the key to this kind of album is a balance of quality and stylistic flow. The second type is a little bit harder to execute: an album as an idea. It requires taking a concept, whether it's a feeling, experience, statement, all of those things, or none of those things, and creating a set of songs that flow into one another as one continuous story, which upon zooming out paints a complete picture for the audience. So, once again, there are two different types of albums. I don’t necessarily have a preference, but I believe there are two distinctly different directions, so attempting to go somewhere in the middle is dangerous and failing to hit either results in a conceptual failure regardless of the musical merit. Pink Tape is a conceptual failure. There is no definitive theme. The closest they get to a theme is the repeated declaration that Lil Uzi Vert is not in fact gay (something I wasn’t even aware was a topic of discussion). I have nothing to say on the matter other than that is not a theme, especially not in the way Uzi executes it. As far as albums go, because it lacks any sort of theme or intentional direction, as well as a cohesive grouping of music, Pink Tape is nothing. There is no redeemable factor to this record’s existence, and on top of that, there’s an hour and a half of it. I don’t know why Uzi made Pink Tape and it doesn’t feel like they do either. As a fan (who they profit off), an album is a semi-sacred occasion, and as an artist, disregarding the importance of that does everyone involved (minus those who profit) a disservice. Despite the bright spots, I won’t lie, Uzi has done themselves and their fans a disservice this year. Pink Tape is a 3.5/10

Eilish & Cameron in 3D BY: DAWSON SARCONA feat. ITS, 5/6/2026 Billie Eilish – Hit Me Hard and Soft: The Tour (Live in 3D) is the latest concert film/documentary from a cross-generational collaboration between Billie Eilish and directing legend James Cameron. While this movie falls into some of the concert movie genre’s formulaic pitfalls, it stands out as one of the most immersive and visually pleasing cinematized performances I've ever seen. Let’s begin with perhaps the most technically difficult portion of this movie, the cinematography. Coming into a world tour, months in, with the goal of branding new 3D camera technology is a tall task. Even more so when you consider that these cameras must be placed in functional areas that don't restrict the actual onstage performance but capture usable, visually pleasing footage. That being said, Cameron, Eilish, and their teams executed flawlessly. There are endless shots in this movie that felt like pieces of artwork. Further, what really impressed me was the ability to capture scale and immerse the audience. The mix of wide-angle, high-definition cameras with new “Lightstorm Vision” 3D technology made the concert feel physically impactful in theaters, and the clarity of the pictures captured via 3D was astounding to me. I have never once felt more immersed in a concert film, and at times, I forgot about the spectacle of watching “a 3D movie” as it rather tricked my brain into a more holistic concert viewing experience. All of the great visual direction and setups aside, there are some issues I have with this movie. I will say flatly, I am not typically a big fan of concert movies. They’re just not really my type of film and they often struggle to grab my attention. This movie follows the stereotypical format of all films in this genre, cutting between concert performance footage and behind-the-scenes documentary-style clips. My biggest issue is the way the behind-the-scenes footage was cut together. There seemed to be almost no pattern to it, and there were scenes intercut into the middle of the film that would have done much better setting the stage earlier in the movie (rather than an actual time lapse of stage set-up to begin the film). I also would have loved to get into the weeds of how this tour functions from the crew side. The crew has feelings too. As for the music, as a casual fan of Billie Eilish and her overall sound, I had a lot of fun seeing the hits performed in cool ways and learning some of her songs I hadn't heard before. I can say that I came out of this movie more of a fan of Eilish (and Cameron). That being said, my reviews mostly focus on movies, so I'll briefly hand you over to a writer with larger ears, Ian Sherry. ~~~ Billie Eilish’s minimal bandstand matched her minimalist pop sound. A large rectangle with two dugouts near center-stage housed a bassist, guitarist, drummer, and a pair of backup singing sisters. That, plus an omnipresent backtrack and a loop pedal for “when the party’s over,” was all Eilish needed to move her audience to screaming tears. She was vocally tight, physically fit, swagger-laced, and on a scripted mission to provide the audience with the ultimate “Billie Eilish” experience. - ITS ~~~ Overall, I was pleasantly surprised by this movie. I had a lot of fun with it, aside from some confusing editing choices that might have hindered some of the momentum. For a concert movie, I thought it was one of the best I’d come across, and I know this will be a smash hit for all die-hard Billie Eilish fans. I’d give this movie a 6 out of 10 on the scale of regular movies. But, with a film genre like this, that's so vastly different from the story-based films I'm used to reviewing, I feel like a different scale is more suitable for this venture. So that being said, when compared to the other films from the concert movie category, my final review for this movie is a 9 out of 10, and I would highly recommend it to fans of Eilish, Cameron, and the genre at large.