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

Gretel Hanlyn Live: Schubas Tavern 11/11/23 11/16/23 By Ian Sherry Schubas Tavern is exactly that, a tavern. The front of the house is a bar/restaurant, and as you squeeze between the bar and booths towards the back of the restaurant, past the bathrooms, you can see a show room open up. Gretel Hänlyn and company played in that show room last Saturday, and anyone who came got a good show. Ever heard of Natsuma? If you have, I need to step my game up. The young British guitarist/vocalist led off the night, and despite playing solo, she impressed. To account for the thinner instrumental, she used a loop pedal, which, as Natsuma explained to her audience, allows an artist to play an instrument, loop a certain segment with a foot pedal, and build a layered instrumental. Despite this demanding solo performance, her vocal talent was fully on display at certain points, even elevating certain songs for the live instrumental. That takes real talent. She’s touring with Gretel Hänlyn, so catch her if you can, and listen to “Miss You” as a sample. Now, before I get to the main event, I’ll give my two cents on Adelaide. The Chicagoland native filled in for Grace Bloom last minute and did a great job. They did a great job, to the visible relief of their bill-members, despite playing solo instead of with the full band they’re accustomed to. Compared to the previous performer, Natsuma, Adelaide was much safer. Considering the circumstances, and their laid back shoegaze style, safety is to be expected, and the safety worked. The vocals brought a hint of emotion, the guitar was moody and consistent, and the stage was set for Gretel Hänlyn. Check out “Needles & Pins” As I was saying: I was right. Back in May, I wrote an article highlighting Gretel Hänlyn and two other talented artists. When I found out Hänlyn’s tour was going to stop just 40 CTA minutes from me, I couldn’t miss it. As I spoke about briefly in “Putting You On Three”, one of Gretel Hänlyn’s strengths is instrumental layering. She creates big sounds and expertly buries her vocals in the middle of the mix. She is clearly the audible focal point, yet the instrumental is never thin. This balance is difficult enough to strike in the studio, I’d imagine doing so live isn’t any simpler. Hänlyn manages just fine. Natsuma sat in on guitar, along with a bassist and drummer. The result was noticeably fuller sound than the previous two artists, to no fault of their own. H er sound was fantastic, and although it took a verse or two for her to slip into a studio-level vocal pocket, once she found it she didn’t look back. The first striking vocal performance came a few songs in with “Slugeye”, which she pointed out was her first ever song on streaming services. From there she executed tracks from every corner of her growing discography, touching different pitches, tones, emotions, and personas. She stepped outside of her discography as well, performing three unreleased songs. I am confident that two of the three will be elite editions to her discography. There were no misses last Saturday. She elevated even my least favorite song of hers “Head of The Love Club” by transitioning out of one of my favorites, “Little Vampire”. She looped an electric guitar chord and let the grinding note repeat itself as she casually strolled back, set down her guitar, sipped some water, then approached the mic again to deliver a great vocal performance. I always found the grungy guitar repetition to be overbearing on the studio version, but performed live, where the instruments are generally tuned evenly, it is easier to digest; it was an impressive adjustment. Hänlyn is definitely the most experienced performer of the bill. While Natsuma entertained with witty moments and an explanation of the loop pedal and Adelaide stood in with an angsty but comfortable energy, Hänlyn dominated the stage. She conversed briefly with a guitar nerd in the audience, casually dissed LA, and used the mic as a prop to add to her performances. She kept the audience entertained from the moment she stepped on stage until the post-show greeting line disbanded. I’ve never been more confident in an artist’s future than Gretel Hänlyn. She has a unique, yet well-established, sound. She’s a comfortable performer. She’s appeared at Pitchfork London, Pitchfork Paris, Green Man, Wilderness, and Coachella. Plus, she’s 20 years old. What more could you ask for? I’ve heard the approaching releases, I’ve seen the live show, I’ve reviewed her newest EP. I’m absolutely certain that you should keep an eye and ear on Gretel Hänlyn. Stream her music, buy her vinyl, and go to her shows. You won’t be sorry.

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!

FOR ALL THE DOGS 10/28/23 BY: IAN SHERRY On October 8, 2023, Drake released his newest album For All The Dogs . After multiple postponements, Canada’s greatest rapper released his eighth studio album. The 23 song odyssey is the newest addition to a discography of ups and downs. Drake’s persona is just as volatile as the quality of his releases. From the underdog to the top of the world, from lonely to never alone, from player to father, his character development isn’t wildly unique when listed in that format. What makes Drake unique is his arc is neither linear nor complete. In reality, those options I listed previously should be mixed randomly in a list held together by hyphens not commas. Drake is a walking paradox, as is his music. Despite consistently delivering some of the most compelling songs in a given year, his discography holds the most bland music to ever grace the top of the rap charts. In preparation for a Drake release, fans are forced to speculate as to which Drake will be present on the album. While the speculation is fun, his persona of choice directly impacts how the album should be consumed. So which Drake made For All The Dogs ? The simplest answer: all of them. “Virginia Beach” is a strong start in my book. The first song to any album should be an intentional choice that sets the tone. Drake chooses to start his 2023 release in his singing bag. The production is strong, weaving around his voice and shifting halfway through to emphasize heavier bass and drums that accompany his first rap verse of the album. “Amen” comes second, the samplework and Teezo Touchdown feature land nicely, and along with the keys overtop, they carry on the same vibe as track 1. Unfortunately, that is the end of Drake’s stylistic/thematic uniformity. Drake has all his tools on display on this album. There is a right way to do that, but this isn’t it. ROSALIA properly executed this concept last year. MOTOMAMI was a show of force in which she expertly performed in different languages, styles, vibes, and emotions. It was 42 minutes long, one song after another, all separate thoughts. The product was fantastic. For All The Dogs is 84 minutes long (that’s twice the length for those counting at home) and it has less to offer in all of those categories, despite Drake’s half a verse in Spanish. If only I was in the studio, I could’ve cut this album down to 12 tracks (2 interludes) that lasted 44 minutes. That album would’ve been Drake’s most consistent release in years. Instead we have twice as much music, and more than twice the material to complain about. SINGING Drake is not a great singer, but he knows how. He and Nicki Minaj are very similar in that sense. They have decent voices, and when they don’t push it, they can fit nicely into a well-written, well-produced song. When Drake is at his best, he puts himself in a good stylistic position to deliver a passable vocal performance with decent lyrics. “Bahamas Promise” is one such case. The heavy bass lead-in with dogs barking creates a vivid mood that gives way to Drake’s vocals. Track 10 is his strongest vocal performance on the album, and it's supported by background vocals and a gentle but firm instrumental. The strong bottom end allows him to focus on singing without being concerned about filling empty space. Piano along with other high-end soundbytes set in overtop to sandwich the vocals. It is a well designed and focused song that lasts for a perfect 3:04. Logically, since the attention to detail makes a song like “Bahamas Promise” excel, the lack of attention to detail has the inverse effect. “7969 Santa” is an unfortunately good example. Drake flips between rapping and singing. Neither is convincing, and the singing is flat out bad at times. The beat is entirely midrange ambient noise and drums. There is no depth of sound, no rhythm, and no energy. It is 2:40 of struggle to get to the unlisted Teezo Touchdown feature. Teezo does his best to save the song, but the simplest solution would’ve been to remove Drake’s involvement, leaving Teezo’s feature and Snoop Dogg ’s outro. Drake has been doing this for too long to allow these inconsistencies, and that’s a frustrating reality considering how good he can be. A whole generation of rappers followed in Drake’s stylistic footsteps for a reason. Speaking of that generation, the PARTYNEXTDOOR feature on “Members Only” is one of the highpoints of the album. Fellow Canadians, the two artists embody a similar r&b/rap lane. Unsurprisingly, this historically results in good music. Their collaborative efforts were successful once again this year. PARTYNEXTDOOR’s verse follows a solid Drake verse with a huskier tone than I’m normally accustomed to hearing from him. It adds a great texture to an otherwise smooth song. The slight juxtaposition brings flavor to the 14th track, and, mixed with their chemistry, it’s satisfying. This isn’t the only collaboration Drake nails on his 2023 LP, and, despite its strong points, the excitement surrounding “Members Only” won’t touch that of “First Person Shooter”. J COLE J Cole fans are rabid. That explains why “First Person Shooter” is third most streamed on the album already, behind the lead single featuring SZA and “IDGAF” featuring Yeat (one of the four horsemen of the mainstream music apocalypse). To their credit, J Cole and Drake did their thing on track 6. Drake stylistically snuggles up to Cole as they rap over production very reminiscent of Cole’s 2021 record The Offseason . The real excitement, though, surrounds the featured verse. J Cole comes out firing. He puts to bed the beef between NBA YoungBoy and himself, explaining that his comments, from which the disagreement stemmed, were misconstrued. He follows that by listing himself, Drake, and Kendrick Lamar as the top three rappers alive (I’ll reserve my opinion for a later date). However, the line that will live the longest announces The Falloff , J Cole’s upcoming studio album. Although my eyes roll a little bit in preparation for the word ‘genius’ to start popping up amongst the Cole-heads, I can’t deny that’s a productive feature. It piqued my interest at least. My favorite song on the album is track 15, “What Would Pludo Do” . Reminiscent of Zaytoven (a musical sweet spot of mine), Lil Yachty does his thing on production. The keyboard painted over the top works coterminously with bass hits on the low end. Drake flows right in between them. He goes bar-after-bar for the length of the track. It’s simple, and there’s nothing wrong with that. With all the singing, features, personal drama, and hype, it’s easy to forget Drake is a very capable rapper. I appreciate the reminder, though this isn’t even his best lyrical performance on the album. “8am In Charlotte” and “Away From Home” are both rapping clinics as well. INTERLUDES While “What Would Pludo Do” is my favorite track, the best pieces of music on For All The Dogs aren’t even traditional songs. Drake absolutely killed his interludes this year. “Screw The World” came first. It’s a dressed up sample of DJ Screw ’s remix of Nas ’s “If I Ruled the World (Imagine That)” . Drake evidently felt the need to pay homage to the quietly influential Houston-based DJ, and it may have something to do with the incident highlighted here . Regardless of his motivation, it is a great piece of music. The muddied vocal sits amongst the murky bass hits. The perfect amount of reverb and throwback southern flavor buried underneath round out one of the best instrumental tracks he’s had in years. “BBL Love” upholds that same standard. The soul sample brings in the audience gently. Drake takes the mellow approach, reflecting on women and how their intimate availability to him relates to his status as a wildly successful artist. This isn’t a new trope, especially for Drake, but that lyrical content isn’t what impresses me. He captures a vibe and brings you into it. If you’re a little uncomfortable once you’re there, he did a good job from an artistic standpoint, because he’s fully enveloped you in his world of numerous and nuanced sexual relations. On top of that, track 18 functions as an opportunity to take a breath before settling back in for the remaining 5 songs of this lengthy piece of work. Two perfect interludes. The biggest surprise on the album comes just a few moments after the second interlude. Track 20 is “Rich Baby Daddy” featuring Sexyy Red and SZA. Frankly, this spelled disaster for a few reasons. First, these are three individualistic artists with their own stylistic sweetspots; second, the Drake/SZA collaboration already fell short on “Slime Me Out” ; third, it’s 5:19 long. I’m pleased to say I was worried or nothing. Sexyy Red brings her energy from the jump with the chorus, and the beat keeps pace with her. It takes a certain kind of energy to feel like you’re setting the pace for the instrumental, instead of the reverse. Drake is able to keep up with the beat (see the difference?), and speeding him up adds an element you hardly ever find on Drake records. His verse is a success, and the chorus provides a perfect transition into SZA, who sings with pace but no less of her usual swagger. She remains one of the most talented vocalists in music, and she adds a smoothness you couldn’t have found elsewhere. The chorus hits again leading into Sexyy Red’s verse. It’s short, but it is a great conclusion to their twist on a traditional song format. The Drake outro could’ve been left off. If it had, this is the best song on the album. However, the choice to use Sexyy Red like they did was perfect, and the willingness to stick to the traditional chorus format paid off big-time. When it comes to good music, my favorite way to stand is corrected . CHORUSES There’s a reason I highlight the usage of a chorus on track 20. In recent years, especially within rap, there’s been a shift away from the traditional chorus-based song structure. This is usually in favor of the posse-track format. A good example, for relevance sake, is Westside Gunn . His new album (which I’ll have a review on soon) leans into this structure. Essentially, he peppers his songs with features whom he works well with. They trade verses over fairly consistent production, with the aim of impressing lyrically while putting an emphasis on their chemistry. This is pretty unique to hip-hop, and when done correctly the results are fantastic. However, some are better than others. Drake’s approach varies from the Buffalo rapper, in that he relies on alternative or subtle choruses (if none at all) instead of featured artists. His features are much less common. They may add a different flavor, but they often stand to do something that Drake cannot execute himself, which is admirable, or boost streams, which isn’t. So if the emphasis isn’t on the chorus, or some substitute like Westside Gunn’s features, where is it? The answer, for much of this record, is nowhere. The result is a lot of boring music, 8 songs by my count. That’s 8 out of 23 that have no replay value. If you check the writers credits for any song on this record you might be floored by the quantity of names involved. With that many minds at work, Drake is able to formulate clever ways to subtly write in choruses. The problem is I don’t want subtlety. That defeats the purpose. A chorus is supposed to provide a different flavor to the song as well as a jumping off point for the next verse. It’s a tool. On “Members Only” it allows for the subtle stylistic divergences of PARTYNEXTDOOR to stand out. On “What Would Pludo Do”, the chorus is a launching point for cutting verses. If you think I'm just listing songs I enjoyed, check this out. The chorus on “7969 Santa” works well too. Not only does it stand as a consistent return point for a misguided performance from Drake, it sets up Teezo Touchdown’s feature, which turns out to be the highlight of the song. Drake has far too much firepower in the studio to put out boring music. Sticking to the chorus-focused format that many artists, including Drake, have found success with historically, seems like a good strategy to me. Drake is one of the most polarizing artists alive. He leans into it, and then, as a reviewer, I can’t help but do the same. This album certainly plays into that. From the postponements, to the inclusion of his son's art and rapping (which keys the tires of a solid fifth track), he created a spectacle outside of the music. However, I’m more interested in the music, always. Here’s what I heard: Surprisingly, the album wasn’t unbearably long. I still can’t justify the length, but aside from Drake’s typically high level of bloat, it isn’t egregious. By bloat I mean unnecessary tracks, extra length on songs, or anything else that doesn’t add or take away from the experience. If you cut all the bloat from Drake’s previous two solo albums, there would be no albums. In that sense he’s improved this year. I was also struck by his lyricism. While it isn’t the stuff of other actively elite rappers like Pusha T or JID , it was much improved over his releases the last few years. However, one big disappointment is the absence of the Drake anthem. This is not an expectation of most artists, but Drake has a tendency to drop chart-topping, culturally enormous songs. While this album has some great tracks, it doesn’t have a “God’s Plan” or “Toosie Slide” . This doesn’t speak to quality, as there are probably five songs on this record better than those two, but I don’t know if this record will create the months-long ripple effect we’re accustomed to seeing from Drake projects. I’m mostly positive though. From an album construction standpoint, I’ve accepted that Drake has a lot of misses. His highs determine the quality of a Drake release, his lows or critical scores, do not. Thus, my score won’t reflect how much I enjoyed For All The Dogs , his best album in a while. For All The Dogs is a 4.75.

UTOPI A 8/4/2023 On July 28, 2023, Travis Scott released his fourth solo album, UTOPIA . Finally. Travis Scott is one of the most prolific production-focused rappers of all time, and one of the most important figures in the music industry today. From his instant classic albums Rodeo and ASTROWORLD to his various chart-topping singles, he’s had a serious impact on the mainstream of rap, at points rising to heights of popularity no rapper has seen since Kanye West’s prime. His impact stretches beyond numbers and popularity too. His songwriting and production skills have been an asset to many studios, but most importantly, his musical versatility and range of influences have played a huge role in bridging the gap between production giants like West and Metro Boomin. Scott is an industry fixture, but it’s been a minute since we’ve heard that signature style of his. It’s no secret that Travis Scott needed some time away following the tragic events of the Astroworld Festival. He found himself in the center of a unique kind of controversy, one that no doubt weighs on him as heavy as nearly anyone else. As a fan it's a hard thing to navigate, and as the artist himself I’d imagine it's nearly impossible. That did concern me for several reasons. Scott thrives when he’s smack in the middle of the industry action. ASTROWORLD is one of the most successful pop/rap albums ever, and a big reason for that is the timing. Scott nailed the sound of the time, brought in the right features, and added his unique set of tools. It simply wouldn’t have been possible if he wasn’t so ‘in the know’. So, naturally, I was concerned he couldn’t replicate it while avoiding the spotlight (not that a man of Scott’s popularity and associations could ever disappear completely). Fortunately, Scott answered many of my lingering questions when the extensive UTOPIA rollout began. A rollout which, by the way, got on my nerves just a bit. Just give me the music Travis. But, I have to admit his strategy paid off. Instead of attempting to capture pop and rap in a bottle once again, Scott moved out of Astroworld and built a new one: UTOPIA. Travis Scott chose to begin his 2023 release with “HYAENA” . The energy, pace, and atmosphere do a good job of introducing UTOPIA . It’s just hectic enough to engage the listener but not so much that it loses them off the bat. Track 2 continues to settle into the same vibe. “THANK GOD” , while it isn’t one of the strongest songs on the album, does its job. To me, it takes too long to catch its groove, and although it does to an extent in the end, I don’t think it works outside of this chronological context. Speaking of context, “MODERN JAM” isn’t concerned with that. It’s a fun song, Teezo Touchdown is good for that, and it feels like Scott had fun making it. To be clear, the general sound is the same, as is much of this sonically coordinated album. It’s just the pace, intention, and vibe that are responsible for the shock. Maybe shock is what Travis Scott wanted here. The beat walks along nicely and the vocal effects are great. This definitely feels like the first song Scott wants his listeners to bring out of UTOPIA and into their playlists. In another somewhat jarring transition, Scott follows track 3 with “MY EYES” . An immediately different feel, this song is Scott’s best since ASTROWORLD . It resides within the sound of the album but executes something completely different. A spacey synth sits on top of a mild drum and bassline, as a muddied Justin Vernon vocal guides track 4 into its first verse. Scott drops in a pretty average verse, but pitches and tunes his vocal to the point that it's just another tool painting the ambient soundscape. The chorus hits and Vernon chimes in for another line as the beat begins to switch. Travis Scott’s first beat switch of the album is perfectly executed. A new faded sample sits over the top and the ambience grows louder, as does the new drum and bass fueled low end. Scott’s second verse sinks into the middle of the mix, allowing the beat to rock and the pace to catch on completely, leading perfectly into track 5. This is the epitome of what Travis Scott has given himself the opportunity to do from a production standpoint on UTOPIA . It’s the Utopian sound. THE LOW-END If you followed the UTOPIA rollout as closely as I did, you’d be very interested to hear how it sounds. You’d also be relieved to find that it does have a distinct sound. However, I think calling it the ‘Utopian’ sound is counterintuitive in a sense. This isn’t to say I don’t enjoy it, but the implication is that this is Travis Scott’s musical sweetspot, his Utopia. One he could settle down in forever. I disagree. While it is certainly a strong and polished mix of his catalog’s strongest sounds and influences, this is just one stop on the road. But, it’s an interesting stop so let’s go deeper. The key to this sound, as far as I can track it, comes down to the low-end. ASTROWORLD ’s strength was in the airiness of the production; UTOPIA has none of that. Its grimy industrial feel is the product of diluted soundbites, endless layering, and prominent drums that come together in an organized clutter, and it feeds into one of Scott’s biggest influences (keep reading for more on that, sucker). The only reason these moving parts are able to combine so cohesively is because the low-end is there to center the listener. “SIRENS” is a great example. The beat builds on a rising sample of New England’s “Explorer Suite” and a blown out sample of Amanaz’s “Nsunka Lwendo” . The drums rise to the top of the sound, leaving just the bass on the bottom. With all the sound swirling atop the vocals, the listener could easily get swept up and taken out of the groove at the hands of audible chaos, but because of the strong baseline, the ear has something to return to. The bass is primarily looped underneath, and its consistent presence subtly holds the listeners ear down just enough to keep them on rhythm. It works, as does the Utopian sound. Moving chronologically, Track 5 is another one of those album-worthy songs that may not stand up outside this context. I like “GOD'S COUNTRY” , even though it isn’t a Blake Shelton cover. It ups the energy a bit coming out of “MY EYES” and leads nicely into “SIRENS”. “SIRENS” is a bit of a new look for Scott. Working with dual samples, the disjointed sample-work comes together into a beat that is plausibly within his reach but not something we’d heard prior to UTOPIA. Scott’s performance is alright for what it is. On a song like this, he just needed to keep up, lyrics go by the wayside. In many ways this is what Lil Uzi Vert was trying to accomplish on their last album. They should’ve spent some more time with Travis Scott. Back on topic, “SIRENS” finishes with a fun little skit in which Travis Scott declares his hotel room Utopia; I guess it had nothing to do with music after all. Drake time! I have never been more excited to hear Drake than when he spoke his first line on “MELTDOWN” . It must be because his and Scott’s previous collaborations include “SICKO MODE” and “Bubbly” . Immediately I am hoping for a chart-topping track 7 complete with fun verses and a beat switch. I’ll have to check back on the charts in a week, but my wishlist was otherwise covered. Drake delivers my favorite verse of his in a long while. Firing shot after shot in a voice just above a whisper, he made his mark. Travis Scott matches him, grinding along with a simple but polished trap beat. Scott uses the hook to switch up the beat a couple times and his verses keep the energy going. It’s a good sign when the artist has complete control over their audience, and Scott has claimed it at this point in the album, as track 8 rolls in. “FE!N” gives the listener no time to recover from “MELTDOWN”. The high-octane Playboi Carti feature sparks the fire that the bass-boosted beat continues to fuel. His impact is so big that it’s hard to tell it’s a Travis Scott song, in a good way. “DELRESTO (ECHOES)” is a similar situation. Travis Scott does such a great job of fusing UTOPIA and Beyonce’s RENAISSANCE , it’s hard to tell whose album this is. Scott's verse follows a classic Beyonce opening verse. He holds his own, singing the first part then rapping for the remainder of what feels more like a Travis Scott feature on a Beyonce song. If you liked Beyonce’s 2022 project, this may likely be your favorite song on UTOPIA, and the way Justin Vernon finishes it off, I couldn’t blame you one bit. THE CHAMELEON There’s a rumor that UTOPIA will be the last solo rap project Travis Scott releases. This means, supposedly, that he will turn to straight production. Naturally, upon hearing this my gut reaction was disappointment. However, as I listened to this record with that in the back of my mind, disappointment turned to excitement. This is partially because the idea of his production skills showing up more often on other artists’ projects is extremely enticing, but even more so because Travis Scott is a chameleon. UTOPIA , despite its generally laser focused soundscape and consistent stylistic choices, displays a great deal of diversity in Scott’s performances to go with subtle shifts in the production. Scott is not the most technically strong rapper, but he knows that. That’s why he often leans into his signature delivery: autotune supported by adlibs (though he shows it less on this record). However, he also has a keen awareness that this doesn’t fit every musical scenario he whips up. That’s when he, especially on this record, begins to utilize his influences. Kanye’s influence is forefront in lot’s of Scott’s rapping, but he showed more on this record. I heard Joey Bada$$'s (or is it Bada$$'$) influence down the stretch of “SKITZO” and on “LOOOVE” Scott’s performance skews towards Kid Cudi who is featured on the song. “I KNOW?” is the best example. This is the closest to an ASTROWORLD song we get on this album. It has more air in the production than the rest of the album. This calls for a more filling vocal performance, which usually results in features. Scott decides to go for no features and delivers my favorite performance of his on the album. The chorus, which provides just the right amount of breathing room for this kind of uninterrupted beat, is a page straight from Drake’s book. It sets him up for his signature delivery on the first verse, but knowing 3:30 of this can get repetitive, he switches his delivery again. For the second verse he taps into The Migos’ book, flipping back and forth between bubbly autotune and a more restrained untouched vocal painted with adlibs. He even throws in some whispered adlibs for the length of the song reminiscent of Kendrick on Mr. Morale & The Big Steppers . It’s one of the strongest songs on the album, and although it seems like it was by committee, it’s all just Travis Scott. Scott’s ability to shift around vocally not only allows him to create a more interesting solo album, theoretically, it could help him slot into more diverse features. This would be a great tool for any of his future projects as a producer who might feature on his own beats. Which reminds me, his chameleon in ability is not limited to rapping. Scott did a great job on UTOPIA of creating different sounds within his own, depending on who he had in the studio. From his NYC hardcore style sample-work on “LOST FOREVER” with the help of The Alchemist, to the perfect RENAISSANCE impression on “DELRESTO (ECHOES)”, Scott has an ability to accommodate any artist he might want to. It’s notable to say the least. Track 10, “I KNOW?” , is the second Drake feature on the album. Oh, I’m sorry, that’s just Travis Scott singing the chorus. Beyond Scott’s vocal shapeshifting, what caught my eye here is the adlibs. Scott seems to have decided to shy away from his signature autotuned-adlib delivery until “I KNOW?”. Something I didn’t see coming, and although I have no issues with his vocal deliveries in general on this album, when he executes like he does on this song his verses never fall flat. There are lots of ways to deliver energy in a rap verse, this is just Travis Scott’s most consistent shot in my opinion. Travis Scott knows how to make a really catchy song for most hip-hop audiences. Track 11 covers another audience. This is my first intentional experience with Rob49, and he brings a certain energy to the beginning of “TOPIA TWINS” . I was questioning the direction of the song when Rob49 jumped in how he did. I liked it, but there was no verse even close to that direction on UTOPIA to that point. I should’ve known 21 Savage could match it. 21 is one of the best feature rappers ever and this is no exception. He steps into the beat perfectly, bridging the admittedly different energies presented by Travis Scott and Rob49, and making “TOPIA TWINS” the fifth straight stand-alone song. Before I even get into “CIRCUS MAXIMUS” , I’ll say this makes six. I like The Weeknd and what he brings to the music industry, but when I saw his name I rolled my eyes. Scott did a really tasteful job of incorporating different sounds into his without departing what makes this album itself to this point, but I figured this was the end. The Weeknd’s sound, at its best, is ultra clean and lives in the high end of the mix. His Canadian vocals soar on top of well produced pop/r&b instrumentals. In his early days he showed the ability to touch on hip-hop, on House of Balloons especially, but that was a long time ago and he hasn’t been back there in his current form. Of course, Travis Scott pulled him right back. Swae Lee leads into track 12 nicely, and rising synths sit on top of the drums as Scott’s middling verse serves to build tension, accompanied by some background screaming. Then one of the purest voices in music today cuts in. The Weeknd provides a temporary release in tension, but the beat revamps and continues to build. The ultimate result is one of the most epic sounds on the album, and another success for Scott. In most cases on this album Scott’s ability to seamlessly accommodate an artist is what makes the song; here it’s The Weeknd’s ability to adapt, despite having an unbeatable formula within his solo work. Hats off to both artists, and Swae Lee too I suppose. THE YEEZUS EFFECT I’m tired of comparing UTOPIA to Travis Scott’s previous albums. Let’s involve one of his greatest influences for a change. Kanye West. West is no-doubt a trailblazer in the rapper/producer lane he and Travis Scott embody, as are artists like Dr. Dre, Eminem, Pharrell Williams, even El-P. The difference is this: nobody but West has touched a sound like this at this level of popularity. In 2013, as he was approaching what to this point has been his peak, West released Yeezus . Many consider this industrial hip-hop concept album to be West’s masterpiece. It set new standards across hip-hop for not only what an artist could attempt to do musically, but what they ought to attempt musically. We don’t get albums like Kendrick Lamar’s Pulitzer winning album DAMN. or Tyler The Creator’s Grammy winning album IGOR without Yeezus . I won’t pretend UTOPIA is on that level, but the musical similarities are uncanny at times; Scott was definitely channeling Kanye West’s 2013 self this year. Industrial is the key word in this comparison. Not only do both artists have a command of the music industry itself on these projects, they feel sonically like they’ve been pulled into a machine. Their gritty metallic feel is relentless throughout both projects, and while both albums tend to keep the listener on edge, their sounds are captivating. Given, there are stylistic differences between the two, as there would be with any two mammoth producers. West will never hit a triple beat switch and Scott will never sample something the way West does Nina Simone on “Blood On The Leaves” . In fact sample work is one of the biggest differentiators between the two. West often uses them for color or as an aid to the chorus, where Scott bakes them into the beat more often, especially on UTOPIA. However, on Yeezus we see West utilize samples more similar to Scott. “Sen d It Up” is one of the more underrated songs on Yeezus and it happens to be a great example. The siren that sounds and then loops becomes the basis for the entire beat as the drum machine adds rhythm and the bass supports it on alternating beats. The vocal sinks into the middle of the mix, which is unusual on Yeezus where the vocals are usually prioritized in the mix. “SIRENS” does a similar thing and perfectly encapsulates UTOPIA ’s sweetspot. The similarities don’t stop there. From Justin Vernon’s presence on both projects to the drums on “CIRCUS MAXIMUS” and “Black Skinhead” the influence is clear and the overlap is real. Listen to Travis Scott’s “Coffee Bean” and compare it to “SIRENS” or Kanye West’s “All Falls Down” and compare it to “Hold My Liquor” . Both artists were out of their prior comfort zones, and both artists overlap in the same uncharted territory ten years apart. Admittedly, Kanye West’s highpoints on Yeezus are borderline unmatched, but that’s due for the most part to the pure size of his sound. It’s just bigger, and therefore less polished at times. In fact, I wouldn’t hesitate to say Scott’s new project is the cleaner of the two. Is it better? No, but I believe it scratches an itch that Yeezus can’t, and vice versa. Kanye West walked so Travis Scott could draft in his wake and eventually run next to him. UTOPIA is that side-by-side moment. When you think of Travis Scott, there’s one other name that always comes to mind. A man who, if he’s not featured on a Scott project, leaves a gaping hole that no artist can fill. That man, of course, is Dave Chapelle. Not. I wasn’t sure what to think seeing Chapelle’s name on the feature list but I didn’t expect “PARASAIL” . A song which features Yung Lean as well. This seems like a disastrous musical combo, yet somehow Scott pulled it together into something. That thing is closer to an interlude than anything else, but it's something. Chapelle speaks of the ups and downs of fame through a murky vocal filter, and Scott and Yung Lean follow with some autotuned babbling. It’s a nice break in the sonic intensity of the last few songs and simultaneously one of the most obviously on-topic songs of the whole project. In short, track 13 is a nice touch. From the shortest to the longest track, “SKITZO” is a production clinic. Scott perfectly sets the stage for Young Thug, before taking track 14 to another level. Its twists and turns account for a little over six minutes of music, which isn't for every mood. However, in this context I think it works, and I wouldn’t be surprised to have Travis Scott fans highlight this as one of the more important tracks on UTOPIA a few years down the line. I’ll tell you why shortly. THE BEAT SWITCH On an album where Scott shied away from central elements of his previous projects, one signature tool was still present. The beat switch may be Scott’s most easily recognizable contribution to the modern rap scene. A strategy popularized by his 2018 smash hit album, ASTROWORLD , the beat switch allows an artist to change the pace, focus, and sound of the song seamlessly when executed properly. It seems like following his success everyone needed a beat switch, from Drake to Kendrick Lamar and Baby Keem. “On My Dis Side” and “SICKO MODE” are both legendary examples of Scott’s ability to execute his patented beat switches, and he added to that list this year. “MY EYES” is one of the more mellow tracks to begin with, featuring a garbled pre-chorus and stripped down instrumental. It’s touching in a way, leaning into the emotional ambience you might find on a Frank Ocean or James Blake track, but then the beat switch hits. Scott starts to pipe in filler sound in order to build the drums on the bottom of the mix. Then as the song reaches its decibel high-point he jumps in with a rap verse. The verse breaks a flow that could have become sleepy if it continued too long and raises the energy without changing the vibe of the song. Perfect execution. “MELTDOWN” provides another version of Scott’s signature strategy. Drake mentions right off the bat that tensions are rising; he’s right. The track is tightly wound and Drake’s whispered delivery adds to that effect until the second his verse ends and Scott pipes in the horns. The tension in the beat doesn’t release as the drums and baseline remain the same, but over the course of his verse Scott subtly switches the horns to the primary loop of the beat. Then he hits a full switch at the 2:30 mark. Leading himself in with the chorus, Scott jumps into his second straight verse, which escorts the listener straight through the end of one of UTOPIA ’s strongest tracks. I was thrilled to see Young Thug featured on "SKITZO". Scott set Thug up perfectly for his verse, although he should've cut his own first verse. On the positive side of things, the first beat switch provides a fairly seamless transition out of a potentially repetitive groove and bridges the second beat switch. The second switch is a more traditional Travis Scott beat switch, breaking down the beat and rebuilding it right in your ear. While Scott’s third verse isn’t much of a change of pace vocally, it moves along nicely into the third beat switch where he does provide some vocal diversity at the drop of a pin. The Joey Bada$$ style finish to “SKITZO” left me looking back to the Young Thug start. Of course I wish it was one verse shorter, but Scott’s ability to navigate between two dissimilar sides of the modern rap spectrum through a series of well-executed switches is unmatched. Travis Scott didn’t invent the beat switch, but he’s perfected it. Now for one of my proudest music listening moments of the year, “LOST FOREVER” . As track 15 rolled around, Scott pulled out a classic soul sample. This isn’t really his specialty, but the Chuck Senrick sample is executed well. After introducing the sample, he begins to build the beat, and something about the beat made me think ‘I want to hear Westside Gunn on this’. Then there he was! Clearly Scott did a great job of setting the stage for Gunn, and he delivered on the feature. It’s just a solid Pray for Paris type of song, but hearing it in slot 15 of UTOPIA really set me off (the only note I wrote was YES). “LOOOVE” is one of the most entertaining performances from Scott on the whole album. The beat is in your face, or ear, immediately and so is Travis Scott. He lays down the hook right away, then uses it to roll into his first verse before cutting the beat in favor of a weird noise break (I don’t know what else to call it). When he reintroduces the beat it’s a more tame version. It’s more listenable but because of the full restart it starts to feel a little long by the time it gets to the Kid Cudi feature. The feature is nice, but I was already moving on by the time it came. Now comes “K-POP” . Bad Bunny is the biggest artist in the world, and I get it. He’s palatable to different audiences, he’s an interesting performer, he seems to be a nice young man, but frankly his music is just fine to me. He is the benefactor (or victim) of mass appeal which locks him in a certain lane that scratches no particular itch of mine. He is better than other artists who fall into that category, but his feature doesn’t excite me. “K-POP”, despite a second solid performance from The Weeknd, slots right in with nearly any other Bad Bunny song. It’s fine. “TELEKINESIS” is essentially the US hip hop/r&b version of its predecessor. Future is another one of those sonically inoffensive artists that gets by formulaically. While I prefer his best songs to Bad Bunny, this song falls shorter than his. The SZA feature at the tail end is a nice touch, but if you spray the bathroom with Febreze and don’t flush, you aren’t really solving the problem. THE COMPLAINTS This has been an almost entirely positive review because I really enjoyed the album and am pleased with the result. However, because I have a holistically pessimistic outlook on the world, I have to interject with some negativity. This seems like as good a place as any. First, as someone who clearly put a lot of thought into album curation, why are Travis Scott’s transitions occasionally awful? A loosely themed album like UTOPIA doesn’t necessarily have to flow perfectly, but the transitions between 2 and 3, 3 and 4, and 11 and 12 are completely disjointed. I could go on but I’ll keep it simple: it’s baffling. Second, Scott does a fantastic job of feature placement for most of the album, until he doesn’t. The features from Teezo Touchdown , Drake, Beyonce, Young Thug, Westside Gunn, 21 Savage, and of course James Blake are all placed perfectly. However, on tracks 16-18 it falls apart. Kid Cudi is always welcome, and Scott does cater his vocal performance towards Cudi, but realistically his verse could have been any rapper. “LOOOVE” was not constructed in a way that Cudi’s price tag could justify anything he might add. I would rather have seen that go towards a feature on “I KNOW?”. Don Toliver would’ve been perfect. “LOOOVE” is immediately followed by “K-POP”. ‘Bad Bunny and The Weeknd on the same song, that’s the biggest artist in the world and one of the biggest in the US, it’ll be a smash hit!’. That’s exactly, to the word, what Travis Scott said (in my head) when his label superiors handed him those features to work with. Track 17 feels inorganic and off theme. It’s a fine song, but, with two artists of that caliber and level of popularity, “K-POP” couldn’t have been bad. At the end of the day, the box is checked and as listeners we can move on without much thought. Then, there’s the crime that’s “TELEKINESIS”. Future is a fine rapper. He has a generally leisurely autotune-heavy delivery which contrasts perfectly with his lyrical messages. This delivery works very well in certain settings, particularly when the beat forms a perfect pocket for him to sit in. If that doesn’t make sense listen to “The Percocet & Stripper Joint” (fun name) or “Colossal” . Both great examples of him riding a beat to its completion, which is why he works well with a producer like Zaytoven. However, when he doesn’t have one of those comfortable pockets he accounts for some of the most boring, uninspiring, middling rap music known to the mainstream, and it’s well known. Travis Scott knows how known Future is, and he knows that a good way to get an audience through the 18th song of a 19 song album is to plug him and SZA back there. Mr. Scott, you're absolutely correct in this assumption; but, as a friend, next time you want to throw SZA (who kills every feature) on a song for streams, please don’t make it such a boring one. That’s all. “TILL FURTHER NOTICE” is a great title for what could be Travis Scott’s last song on a solo rap album. It certainly left a good taste in my mouth, which is the key for a song like this. 21 Savage lays down his second great feature of the album, better than the first, and James Blake’s feature is a great touch. Blake is probably my favorite Travis Scott collaborator. His production credits tend to pop up on great Scott songs and they feature nicely on one another's projects. “STOP TRYING TO BE GOD” and “Mile High” are great songs. Basically, he’s a great person to help usher out this era of Travis Scott. Scott’s last verse is nothing crazy, but like most of his Utopian performances, it’s solid. It makes me want more, but simultaneously leaves me excited for his next step; to me that’s a great finish. If you’re not tired of me yet, let me wrap things up for you. Travis Scott’s 2023 release was one of the most anticipated albums of the year, and one of the most anticipated rap albums of the last three years. I think he safely slots into a category occupied by artists like Kanye West, Kendrick Lamar, J Cole, and Drake. Looking at the releases from these artists the last three years, Donda and Donda 2 , Mr. Morale & The Big Steppers , The Offseason , and Certified Lover Boy , Honestly Nevermind , and Her Loss respectively, I think UTOPIA is the strongest. Scott continued to take steps forward, with the awareness that he didn’t need to part with his comfort zone. Does he have the lyrical and thematic focus of Lamar or Cole? No. Does he have the industry firepower of West? Not quite. Does he have the rabid audience of Drake? No. But he has enough of all three and more, and that places him atop these albums. UTOPIA is an album that simultaneously thrives in consistency and diversity. This is a formula that serves the greatest musical acts of all time, from The Rolling Stones to D’Angelo. All I’m saying is Scott is on the right track. It’s not ground-breaking, it may not be a top album of the year, it probably isn’t his best, but it's solid. I’d encourage anyone to give it a listen, unless you want 19 songs worth of Dave Chapelle. There’s only one on this album. UTOPIA is a 7.5/10

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

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

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

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

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

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