Tabs On Tigers: Harris Oversleeps Alarm 8/1/2025 BY: IAN SHERRY The trade deadline was July 31st, and in a display of confident mediocrity, the Detroit Tigers addressed just one aspect of a battered playoff-bound roster. Tabs On Tigers Vol. 4 Well, it was bound to happen. Our first-place Tigers hit a rough patch. It has been 10 years since the Tigers had more than 2 all-star players, which makes it laughably ironic that the moment Detroit secured 7 (yes the number seven) all-stars, their skid began. Sparked by the consecutive shellings of Tigers rotational leaders Tarik Skubal and Casey Mize (both named all-stars), the team’s tailspin ran into the break and only picked up speed through a shoddy ASG showing and 3 series losses to begin the second half (2-9). This properly grateful fanbase was patient, though the grouchiness was palpable in public spaces across the city (especially National Coney Island). But soon, the elusive Kerry Carpenter returned to the lineup, Riley Greene shaved his beard, and the Tigers were back. Their dominant sweep of Arizona was fueled by nonstop touching of Greene’s new stache, a big game from the sorely missed Kerry Bonds, good team pitching, and a dazzling bat retrieval by the American League’s premier bat-boy, Frankie Boyle. Nothing more satisfying than a righted ship – a return to form. These Tigers have a secret formula. AJ Hinch’s mad-scientist managerial style took tireless, borderline excessive balancing across several years to take root, but they’re dug in now, and it’s the league’s puzzle to solve. Puzzle: Detroit’s roster continues to fit that description all too well. Upon the gracious return of Carpenter, Reese Olson’s season ended with a shoulder strain and Parker Meadows hit the IL with a hamstring injury (which again calls into question the necessity of the hamstring – domestic pigs come stringless and sustain far fewer injuries). To his credit, Scott Harris immediately addressed the Olson shaped hole in the starting rotation, squishing the 6’-4”, 29-year-old Chris Paddack into his place. A day before the trade deadline, the former Twin took the mound to seal a series sweep with 6 great innings where he showed off a Chris Fetter-friendly arsenal, filling the strike zone with a good changeup, some loopy curveballs, and a mid-90s fastball with a bit of run. However, the puzzle is not yet complete. Heading into the Trade Deadline, The Tigers had undeniable needs, and as the dust settled at 8 PM on July 31st, those needs are still standing. First, the average age of the Tigers’ starting lineup falls under 30, and their playoff experience, aside from Javy Baez, Gleyber Torres, and Matt Vierling, is limited to their brief visit last season. And, while the slugging took a much-needed jump this season, teamwide, the individual power threats are still limited in stock and consistency. The allegedly aggressive pursuit of Alex Bregman this past offseason proves an awareness of this issue, and the submissively-swept Diamondbacks had the solution. Over the past 5 years, few players have hit more home runs than the renowned yet underrated Eugenio Suarez. The former Tigers prospect would’ve been an iron-clad edition to the Tigers patchwork infield at the hot corner, but Scott Harris wasn’t able to move Detroit past the ‘name-in-a-hat-phase’ of trade discussions, and Suarez escaped to Seattle (along with my dreams of an additional slugger). Second, the Tigers feature zero 100+ MPH arms in their bullpen, and just one on the whole roster in the reigning Cy Young winner. In today’s MLB, particularly against amped-up playoff competition, well-located pitches and matchup-seeking only go so far against pro scouting reports and hitters who’ve faced 90+ MPH pitching since high school. Will Vest is the Tigers’ hardest chucker and the closest thing to a closer Hinch’s play-it-by-ear bullpen strategy will concede. Vest has generally delivered on his end of the bargain this season, but, his go-to flat-flying 97 MPH fastball is a caliber bellow the weaponry of a Major League closer. It’s not about velocity, it’s about stuff, and the Tigers bullpen doesn’t have much. Still. In a series of conservative moves, Harris compiled a scrapheap of arms who may not have earned roster spots on their respective franchises next season. Paul Sewald is a former SEA/ARI closer who found open pasture in Cleveland this season and settled comfortably on the IL at the age of 35, where he’ll remain for Detroit. Rafael Montero is a journeyman reliever, most recently of Atlanta, whose 5.40 is a reflection of his lacking control. The 11-year vet keeps securing roster spots because of his swing and miss upside, but has only mustered 2 good complete seasons to date. Charlie Morton is a well-respected and well-loved starter who, at the age of 41, has posted a meager 5.42 ERA so far this year. While this season hasn’t been his strongest by any means (due in large part to his playing for Baltimore), and the end may be near for Uncle Chuck, his is a lefty who may offer Hinch’s bullpen flexibility in the forecasted playoff run. Kyle Finnegan rounds out Detroit’s additions. The former Nationals closer is having the worst year of his career with a 4.38 ERA, and while his previous seasons imply the ability to perform closer to a 3.50 ERA, he’s always allowed an unintimidating .250 BAA – much too high for a closer. Scott Harris had a big opportunity last month: to not only strengthen his roster for a deep run this season but stamp his name on some of the Tigers’ recent success. He proved the opposite. AJ Hinch is the leader of this organization. His idiosyncratic strategies and ability to get the most out of a utility roster have defined this new brand of Tigers baseball, and while Harris has been a stellar collaborator, no-doubt, he’s failed to provide any significant improvements to this savantly reorganized roster. Significant improvements were proven available. Suarez could’ve taken a short walk from dugout to dugout. Instead, he’s trekking to Seattle. As far as big-name relievers go, Mason Miller, Ryan Helsley, Jhoan Duran, David Bednar, Camillo Doval, Dustin May, and Griffin Jax all moved to towns not named Detroit. The silver lining lies in the Tigers’ undamaged farm system, but the solvable challenges this young, injury-riddled squad may face in October outweigh that moral victory. If I had to sum up this Deadline performance in a word? Flop.

MAYHEM By Ian Sherry 3/31/2025 Lady Gaga released MAYHEM , her first studio album in five years, on March 7, 2025. With a collection of songs that meet the moment, Gaga has reasserted herself atop the charts. Lady Gaga is selling this project as inspired by a variety of 80s and 90s influences, but I’d describe it as a return to form. Her last studio album skewed too far into mall-music for my liking and, with the intrusion of movie soundtracks in her recent discography, it’s been since 2016 that we got a musically ambitious album from Lady Gaga and since 2013 that we’ve seen one of this quality. No song better fulfills this record’s sales pitch than “Zombieboy.” The chant-clap intro briefly sets the stage for the high-energy disco-electronic instrumental that drives the track. She rides the 80s revival wave and energetically fills out the musically encased vocal pockets for a sonically airtight product. The record feels contemporary, original, and unique to her well-established catalog. The MAYHEM sound’s X factor is the acid bass. The strobing electronic bass that flutters on songs throughout the record is reminiscent of Kendrick Lamar and his GNX production team’s “squabble up” . An album this fresh, however, is the result of more than just one new trick. All these years later, Lady Gaga is circularly collecting on her own influence in electronic music, and the results are inspiring. “Abracadabra” was a smash hit before the end of the first verse. It has the unmistakable, vintage feel of a Lady Gaga anthem. The bouncy electronic introduction is excellent. From there, she effortlessly builds energy before dropping an immediately iconic Gaga-talk chorus pumped full of that acid wobble on the low end. She commands the refrain with electrifying swagger, chanting in sync with the punchy dance beat for my personal high point of the album. Listening to Lady Gaga’s fervorous commitment to song concepts is as much fun 17 years in as it’s ever been. If it weren’t for her comfortability in her own sound and a willingness to work with fresher cross-industry influences, this album couldn’t compete in a trend-based genre like pop. “Killah” , for instance, is a ridiculous undertaking of influences that lands closer to corny than cool across the first couple verses, still it’s saved by a crisp chorus and a stellar instrumental feature from Gesaffelstein . Gesaffelstein was also MAYHEM ’s primary producer, which made him responsible for stylistically ushering Lady Gaga into the swing of this decade’s musical landscape. He generally delivered, bridging the gap between her vintage sound and today’s charts with notable chemistry and quality. The best songs featured filled-out instrumentals and ear-catching moments, while the small population of weaker songs suffered from thin backing undeserving of Gaga’s unrelenting vocal effort – the P!nk effect. Gaga sings like a dynamo, preventing any song from flopping - something that major pop releases are so prone to accepting. Her performances are potent, enough to elevate a song like “Blade Of Grass” to a touching ballad, and enough to somewhat salvage instrumentally empty duds like “Don’t Call Tonight” or “The Beast” . She shows veteran songwriting chops, only running long a few times on pop drags while manufacturing danceable songs, one after another, with timely shifts that allow her to choose from her full arsenal of sounds on any given song. Her lyrics are still the unmistakable mix of cheesy and genuine – the parody that results in goofs like “Perfect Celebrity” and number-1-worthy tracks like “Vanish Into You” – and I can’t imagine them any other way. At her best, Lady Gaga has a generationally distinct sound that can churn out 10/10 songs each time the pieces align (3 this year). The attention to detail throughout this record, which is quite contradictory to the title, pays dividends and is especially evident in the synchronicity between Gaga, the punches of the instrumental, and the infrequent but impactful backing vocals. This is music the product of a living icon, and this album may prove to be an essential member of that icon’s discography – a later-model success that further cements Lady Gaga’s legacy as an artist and musical innovator. MAYHEM is a 8.3 .

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

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

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

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

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

LIL YACHTY'S LET'S START HERE BY: Ian Sherry 2/14/23 My go-to word when asked about Lil Yachty’s music has always been “fine”. That’s exactly what it is. To be fair, he does some things really well. His production is often compelling and he showcases versatility in his delivery when he is at his best. He also has been a part of a few fun pop crossovers. But, those songs are just that: fun. He falls victim to repetitive flows and occasionally leans too hard on autotune, but these problems aren’t unique. That is probably my biggest issue with Yachty: he is very talented in multiple facets of music-making, but he still makes mistakes that every other mediocre mainstream rapper does. So, as much as I like Yachty as a person, prior to this release, I would describe him simply as “fine”. The last few years have been interesting for Yachty. He’s gained a sizable media presence, mostly because he is a genuinely entertaining personality. He also has expanded musically. For example, in 2021, he decided to come to Detroit to make his album Michigan Boy Boat. The album featured some of the biggest artists in the Detroit scene -Tee Grizzley, Sada Baby, Babytron, YN Jay, RMC Mike, and Rio Da Young OG, to name a few- and his deep dive paid off in what felt like an authentic Detroit Rap project. As a Detroiter, I can attest that although for some people Detroit Rap can be an acquired taste, it is unique and hard to duplicate just for a given album. For the most part though, that is exactly what Yachty did, embracing the punchline-focused delivery that makes Michigan artists great. On top of his time in Michigan, over that last year or so, Yachty has reportedly been a part of studio sessions for several rap projects, and he’s written songs for other artists as well. He also released his single “Poland” recently which immediately blew up because of its show-stopping autotune, even though it was admittedly one-dimensional. There was some buzz over his upcoming album, but, even with the knowledge I had, I still wasn’t convinced it would be more than just a slight improvement over the previous Lil Boat albums. Simply put: I was wrong. Let’s Start Here is essentially an alt-rock/hip hop crossover, and it's good. The album could not have started out with a better track. “The BLACK seminole.” starts with heavy base and drum hits, immediately diving into the unique atmosphere of the album. Then, after the first verse, the guitar comes in. Not just a guitar riff or sample, a guitar solo. Not only does this speak to his immediate commitment to this new concept album, it shows his confidence in his musical expertise and versatility. After a somewhat lengthy tension release (something Yachty does well on this record), “the BLACK seminole.” finishes with the moaning vocals of Diana Gordon, who is brilliant throughout her multiple appearances. Once again relieving some tension, Yachty rolls right into the second track “the ride-”. It’s a relaxed, upbeat track that feels like Yachty’s version of what Steve Lacy does often on his 2022 album Gemini Rights. And, guess who is featured! Steve Lacy. Steve’s feature is simple and enjoyable, even though simplicity is not Yachty’s style on this album. Upon closer listen, “the ride-” has plenty of complexity to it. The baseline which roams throughout the song, keeps pace and bolsters the song’s personality. The third song “running out of time” is very easy to listen to, as is the fourth song “pRETTY” which features autotune reminiscent of “Poland” and a solid feature from Foushee. Unfortunately track five raises my first big issue with the album. “:(failure(:” is an interlude that consists of Yachty reflecting about his failures in a roundabout way. Here’s the thing: Yachty has a great personality. The problem is the placement. He led off the album with four great tracks but he then broke up the momentum with an interlude that could have slotted in anywhere. “THE zone” and “WE SAW THE SUN” come next. Both have their strengths. The first features, possibly, his best songwriting on the album, and the second includes more great autotune and a perfectly done mini-interlude. The interlude reminds me of some of Kendrick Lamar’s best. It simultaneously entertains and leads into the next song, as the bass kicks in towards the end for a seamless and satisfying transition. “drive ME crazy” and “IVE OFFICIALLY LOST VISION” mark the last two Diana Gordon features. Her impact on this album is probably greater than it appears on the surface. Her voice is a familiar mix between Alanis Morrisete and Tracy Chapman, and it adds completeness to the album by tying songs together stylistically, in a way miscellaneous features could not have. “sAy sOMETHINg” flirts with Yachty’s habitual repetitiveness but avoids it by pushing the limits of autotune and leaning into it heavily from the bridge throughout the conclusion of the song. “paint THE sky” opens with a muffled sample of the Weeknd’s “Save Your Tears”. Yachty does a mild stylistic Weeknd impersonation for the remainder of the song and executes it tastefully. “sHouLd i B” and “The Alchemist” combine for the weakest pair of songs on the album. Both are fairly repetitive, and though they stay within the niche of the rest of the album, they are missing the palpable creativity on every other song. “The Alchemist” has a nice finish that leads into the album’s final song. But aside from that, I could do without them, especially on such a strong and reasonably lengthy (57 minute) album. “REACH THE SUNSHINE” is the final song on the album. Although it doesn’t reach the heights of the opener, it brings in some of the same elevated vocals. Daniel Caesar has a great feature, adding to the atmosphere of the album’s conclusion with great vocals. Yachty decides to ride out the album on a wave of synths and sound effects, the same synths and sound effects that create the exotic sonic world that is Let’s Start Here. Lil Yachty’s Let’s Start Here is a musically alternative take on mainstream music industry style. It has its flaws, namely: the occasional grating vocal performance, incoherently high decibel combinations of instruments, and Yachty’s repetitive flow. But, it is a triumph nonetheless. Let’s Start Here sits in a strange yet surprisingly common set of circumstances, where the album can easily rub a given listener the wrong way. Yet, it would be a mistake to miss the genius behind it regardless of personal taste. Other albums that share these circumstances, especially within alternative hip-hop, are: Tyler The Creator’s Igor, Danny Brown’s Atrocity Expedition, JPEGMAFIA’s Veteran, even Death Grips’ The Money Store. If you’re familiar with those, I think Let’s Start Here is on its way to their level. Yachty is young, talented, and after this album it seems he’s poised to start making timeless albums. Lil Yachty’s Let’s Start Here is an 8.5/10.

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

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

ROCK'S PATH FORWARD BY: Ian Sherry 3/22/2023 HEADLINE: Rock is no longer the most popular genre. I could go on and on about the downward trend of the former super-genre. However, to be prompt I’ll simplify it to this: after being the dominant genre of the 70s and 80s and the 90s to an extent, mainstream rock sat too comfortably headed into the age of computers, autotune, and one-trick production brought on by the 2000s. The result is two decades of uninspired pop-rock (a real and pitiful genre in my opinion) and an experimental rock reaction, which often tries too hard to be different and not enough to be good. I could name a lackluster band like Imagine Dragons here, but I won’t because I’m a nice guy. This is all, of course, generalization, but the rising consensus is that rock is in serious trouble. Everyday the internet's ‘hot takes’ become more condemning towards the genre, with many declaring it dead. These claims gain credibility through validation from well-respected critics like Anthony Fantano. Fantano is not anti-rock, he’s realistic. Not only are these opinions reasonable, they are fairly true. Rock’s days as the number one genre are done for the foreseeable future and for good reason. For a long time rock was associated with pop, but pop is often just a reflection or variation of the most prolific and replicable style of music at the moment. So, with pop shifted in a non-rock direction, rock has become limited by its lack of reputable neighboring genres. However, rock is not dead as a genre, and, while I could point to countless contemporary artists and projects, I choose one man: Jack White. If I could have a conversation with the genre of rock I would request the following: steer away from pop (it will find you), dip into other contemporary genres, and don’t be afraid to draw from wherever you want. In 2022, Jack White did all of that and more. His two albums Fear Of The Dawn and Entering Heaven Alive cover all the bases and showcase his mega-talented studio presence. Between the two of them they display aspects of folk, hip-hop, and a plethora of rock sub-genres; I’ve even picked up on some reggae influence in songs like “Esophobia” and “All Along The Way”. There’s also a wide variety of emotions and themes, something White has employed since his White Stripes’ days. I know that all sounds fantastic, so allow me to elaborate. “Taking Me Back” is the first song on Fear Of The Dawn and “Taking Me Back (Gently)” is the last song on Entering Heaven Alive. Often artists will give you two versions of one song on the same album, with rap you may get a remix or instrumental version and with other genres, artists will often tack on an acoustic version. What White did here is less common. He took the same song lyrics and some of the bones, and stripped everything else, rebuilding it nearly from scratch. The original is a hard rocking loud track that leads into Fear Of The Dawn perfectly. It sets the pace of the album and introduces some of the tools he’ll use throughout it. My favorite is this sputtering guitar that cuts overtop the instrumental intermittently in this song and some others on the album. It seems like his equivalent of a record scratch and it brings energy every time it's used, breaking down layers of instrumentals that would’ve been overly dense otherwise. “Taking Me Back (Gently)” is much simpler. The rhythm is slightly different and the instrumental is more relaxed without killing the energy of the track. While it’s less of a standout in the scope of the entire album, it is a really enjoyable song with an energetic violin and a lengthy instrumental break that entertains and provides breathing room that the original version lacked. By including these two songs, and placing them on either end of the albums, White bookends his 2022 releases and puts an undeniable emphasis on the diversity between the two. He also showcases the kind of energy each album possesses, so if you’re deciding which to listen to first, I would suggest starting with these tracks to help you decide. “I’ve Got You Surrounded (With My Love)” is my pick for the best song on Entering Heaven Alive. It is a fantastic groove that uses a heavy bassline to give the track pace and depth. Over the top, White layers keyboard and a buzzy guitar as well as vocals that sound like they’re in the other room (in a good way). All these elements are mixed perfectly to create a unique atmosphere complete with well timed instrumental breaks. It is a 4:25 minute song that feels like two minutes, which is a great sign. A big reason for that is the song’s structure. There are technically two verses, with only two lines each, and two bridges, as well as several variations on the catchy chorus that works as a transition between unique instrumental breaks. What stands out when listening to these albums is Jack White’s creative abilities in the studio, but “I’ve Got You Surrounded (With My Love)” is a songwriting clinic. One of the biggest complaints about rock recently is its inability, or more accurately, its tendency, not to branch out into other genres. On “Hi-De-Ho”, featuring Q-Tip, White takes that step outside the confines of traditional rock stylings without departing from his aesthetic. The track opens with an impressive intro from that same buzzy electric guitar followed by a sample of Cab Calloway’s “Hi-De-Ho Man”. After about 1:20 of what can only be described as confusion, the baseline drops in and so does Q-Tip. He just flows over the looped baseline while drums roll over the top. Simple, but effective. Then White joins in on the bridge for some moaning vocals, that mainly serves to cut the track before it gets too repetitive, before riding out on the same catchy looped beat. It’s a fun song with lots for a listener to easily unpack, and on top of that, I enjoyed the Q-Tip feature which is frankly unusual. “Into The Twilight” is my favorite song on Fear Of The Dawn. It has the wailing guitar of “Taking Me Back” and the energy of “Hi-De-Ho”. It jumps in with another great baseline, a gentle piano riff, and that same guitar sputter. The vocals are kept to a minimum and the focus is on the rising and falling synths and various soundbytes that White weaves in. Brief samples of The Manhattan Transfer are twisted and woven throughout, being used to cut through the heavy guitar and replace the need for verses or bridges. On the way to the conclusion of the song the entire instrumental is torn down before being built up layer by layer. The chorus repeats one more time and it rides out on what feels like a fun improvised keyboard. But, nothing is improvised in this song. It is perfectly mixed and cut, showing a level of expertise Jack White seems to always have in his back pocket. Listening to an artist like Jack White forces me to understand I belong on this end of the music business. Because, I can’t fathom doing what he does in the studio; a depressing thought that is often washed away immediately by pure sonic pleasure. White, to me, should be the prototype for a genre that desperately needs innovation. His ability to involve traditionally genre-specific techniques without leaving his own stylistic comfort zone might be unique to him, but his willingness to try it shouldn’t be. Rock is not dead, but it needs help. In 2022, whether he meant to or not, Jack White gave the genre what it needed. It’s up to his peers to follow suit.