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 .

Missed One: Two Star & The Dream Police By Ian Sherry 1/24/2025 On February 9, 2024 Mk.gee released Two Star & The Dream Police . Well, it seems bound to happen every year: I get to the end of my year’s top albums list and post it, then, just as relief begins to set in, it's washed away as I inevitably discover that I missed one. Hivemind , a Detroit-area-based YouTube channel, was this year’s bearer of bad news. As Riley, Graydon, and DJ Grant made their way through their 10 favorite records of the year, several selections appeared on more than one of their lists. One particular record stood out above the rest, not only because of the enticing descriptions but because of my complete unfamiliarity with the artist. I knew, at that point, that I had no choice but to listen to Mk.gee’s Two Star & The Dream Police , and this final 2024 LP did not disappoint. Phil Collins , Prince , and The Police . Those are the artists they likened to Mk.gee - an allegedly tasteful 80s revivalist – and all 3 legends are incredibly talented, loved, and 100% absent from track 1. “New Low” instead establishes Mk.gee’s emo/electronic sensibilities, delving into ambient genreless production that is intentionally mixed overtop the vocals. As the song builds, progressing briefly and effortlessly as most tracks on this record do, it embodies the palette in which Mk.gee brings music to life. From there, he steps further and further out of the shadows, introducing some safe rhythmic guitar performances and lighter, more sonically prominent vocals across tracks 2 & 3, before dropping the first in a healthy stash of standout songs considering the concise 33-minute runtime. Track 4, “DNM” , begins by giving a quick taste of his soon-to-be-signature scratchy electric guitar and a couple crisp keyboard notes, before stopping and restarting with a full launch into one of the album's best tracks. His vocals are confident and have a greater stylistic and toned range than I had imagined following the first song. That allows him to easily step into this peppy alternative tune while maintaining a firm grip on the sound itself with his rasping guitar in the background. Two Star & The Dream Police is fantastic for a lot of reasons, but the flow is one I’d like to highlight now. When you have an artist who can sing with the soulful tone of today’s inclusive r&b stylings on track 5, then turn around and deliver higher-register nostalgia-heavy vocals reminiscent of 2010s indie-pop on track 6, all without deviating whatsoever from the style he’s commanding, you get excellent flow. His track-to-track versatility sustains the listener’s interest while remaining comfortably within his signature sound. The result was this: I finished the album and immediately listened a 2nd time, then a 3rd, and a 4th. Obsessive? Sure, but I only obsess when it is absolutely warranted – Prince for instance. That’s because ‘fans’ at large do not appreciate, much less understand the man and his music. It’s a shame. So, when I heard Riley Savage drop his name I took note, and when “Candy” began on the heels of a very Prince/MJ-like transition I was immediately buckled in. This song is more than an impersonation - a mimicry born of surface-level understanding. Instead, it’s a musically legitimate adaptation of Prince’s iconic style lying plain as day within Mk.gee’s contemporary sound, from the lyrics, vocal progressions, and chorus structure to the teasing and eventually complete exhibit of his versatile yet distinct guitar in the form of a classic Prince solo. Simply put, it is an impressive product of comprehension and reinvention. When Mk.gee’s chunky electric guitar blurts out in the middle of vocally focused portions of the song it calls the listener’s attention (duh), which perfectly paves the way for it to bellyflop with the grace of a brick into whichever instrumental opportunity it wishes, creating a moment every time. "Candy" is not the only example of that technique, nor is it the only occasion where Mk.gee revitalizes a lost sound - the guys at Hivemind picked up on a few but I’d tweak their attributions slightly. In addition/place of Phil Collins, Peter Gabriel surges to mind on the 8th track “I Want” and rather than The Police, who are fully present on his latest single “ROCKMAN” , my dad wisely pointed to Sting ’s solo work on the last track “Dream Police” . Each influence was tastefully portrayed and integrated into the sound, and while I can’t speak to his thought process or the direction he’ll take his talents, his evident willingness to learn excites me most. I say that because there’s still exploration to be done. Two Star & The Dream Police is a breakout album. It introduces Mk.gee more capably than anything he’d released prior, but it left room for growth. The most crucial area in which I’ll be seeking improvement on his next release is song length. If you have a musical highpoint in mind, a moment where all the pieces of the song unite perfectly, save it for the end! For the length of the album, Mk.gee found moments that felt climax-worthy given the scale of each given track. However, with just 3 songs eclipsing the 3-minute mark, the payoff is given up too easily. If you, the artist, are comfortable building a song, you can stretch that process across 4 minutes rather than 2 giving the listener more time to sink into the track and yourself more structural, instrumental, and performative freedom. Taking the strongest features of what you’ve imagined and creating a more durable experience that’s ultimately more fulfilling, I’d imagine, is a difficult skill to hone. It would take confidence, experience, artistic maturity, and pure ability. Mk.gee is definitely one of the able. I could spend the conclusion of this review harping on other areas of improvement, perhaps vocal ambitions or rounding out the mix on the instrumental side, but the truth is Mk.gee showed he can be a centerpiece vocalist on “Alesis” and bulked up instrumentals for a fuller sound in instances across the record. So, now it’s just a matter of waiting, listening, and hoping we get more of it - more great music. Two Star & The Dream Police is a 8.3 .

Hurry Up Tomorrow : Monday Is Looming By Ian Sherry 3/8/2025 The Weeknd released Hurry Up Tomorrow on January 31st, 2025. Abel Tesfaye searches for end-of-era-defining songs on what is rumored be the final album released under his present moniker. The Weeknd rose to prominence in the early stages of last decade when his trio of mixtapes, Trilogy , caught listeners’ ears with the shock-toxic club-pop he pioneered. Now, after releasing a decent debut, 2 consecutive smash hit records, and the first 2 records of his highly successful and allegedly final trilogy, the Toronto superstar entered this record evidently shorter on inspiration than he’s been in a long time. The reception of The Weeknd’s latest has been the increasingly typical mix of middling to high scores and mild to moderate enthusiasm. With the world’s top sound engineers at his disposal and having the knack for delivering sonically enticing soundscapes that he does, a certain level of critical success is all but guaranteed. The Weeknd will always provide a song like “Baptized In Fear” to scratch the hifi itch. But, if the repeated achievement of sonic standards is akin to success in your view, consider the remainder of this review a dissenting opinion. The Weeknd is out of gas. Fueled in his early days by the nightlife, Abel Tesfaye seemed to know his lifestyle wasn’t sustainable. So began his journey to pop stardom. His now 15-plus-year career has been marked time and time again by well-executed shifts in identity, ultimately bridging the gap between toxic trainwreck and cynical celebrity, but on Hurry Up Tomorrow he was too slow to pull the plug. The sound has reached its expiration date. The Weeknd’s identity, which was always a poignant feature of his artistry, is currently reduced almost singularly to his star status. The result is a hit-driven approach to the majority of tracks. With his mind perpetually set on the high point, the instrumentals have become electronic clouds of ambient ambiance. Take “Reflections Laughing.” The track begins with The Weeknd singing alongside a meek guitar playing no discernable melody, then with the help of a chipmunked sample hook and someone sitting on the bass button, he begins to build to the climax just 1 minute into the 4:51 song. He even drops an interlude into the middle of the song before a painfully lethargic Travis Scott feature accounts for the last 1:37. The song relies so heavily on audience buy-in that it is held together more by the robo-popstar personas of Tesfaye and Scott than any legitimate musical structure. “Wake Me Up” kicks off the album with artificially anthemic energy that is essentially typical for a record chock-full of musically hollow moments of sonic cinema. Because The Weeknd’s voice is so piercingly clear, it lacks texture. This can be positive when belting out pop choruses, clarity plays well to general audiences, but like any other form of delivery, there’s a time and a place. The wider variety of vocal stylings on his early mixtapes occasionally put The Weeknd in uncomfortable vocal pockets that were a more challenging match for his performative skillset. It was not uncommon to hear the strain in his delivery, but it only added to the already edgy sound. That edge is gone. “Timeless” is a jam and the perfect counter to last paragraph’s claim. Playboi Carti settles into the atmospheric Weeknd-style trap beat like he was born there and brings a couple flows along with him. The Weeknd steps up to the plate next and handles the later majority of the track like he can and should, effortlessly delivering multiple delivery styles, rhythms, and rhyme schemes. Unfortunately, while performances of that caliber aren’t singular to track 13 of the 22 total, the average vocal performance is much more pop formulaic - fine but nowhere near the displays of talent and skill he’s achieved. Instead, he gets outperformed by both Future and Lana Del Rey and milks a third of the songs for minutes longer than nature would’ve allowed. 22 songs is a somewhat ridiculous number, but exceptions can be made. That’s a status The Weeknd has certainly earned. Likewise, he’s earned a few electronic pop flops. Acts that categorically raise the bar in certain areas of evaluation can perhaps be allotted modified expectations in select areas that are less favorable given their skillset or style of undertaking. But this year, there were just too many lapses. I’d return to just 4 songs: the hifi success “Baptized In Fear” (7), the prompt, washy “Opening Night” (8), the aforementioned “Timeless” (8), and the a1 trap-pop “Niagara Falls” (10). There was a smattering of excellent transitions, and of course, the soundscapes were on point. Hurry Up Tomorrow is a 5.8 .

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.

These archives hold all of the music review ever written for The Culture Gyre THE ARCHIVES SCORES STRANGER THINGS VOL 1 THE RUNNING MAN GADABOUT SEASON MAN'S BEST FRIEND FOOL'S GOLD LET GOD SORT EM OUT FLOWERS FOREVER HOWLONG MAYHEM HURRY UP TOMORROW THE HUNTING PARTY 2 STAR & THE DREAM POLICE GNX PINK FRIDAY 2 IGOR HACKNEY DIAMONDS DEFINITELY MAYBE FOR ALL THE DOGS THREE PIECE VOL. II A Triple review of Westside Gunn's And Then You Pray For Me, MIKE's Burning Desire , and Troye Sivan's Something To Give Each Other . Written By Ian Sherry 11/3/23 THREE PIECE VOL.1 A Triple review of Teezo Touchdown's debut How Do You Sleep At Night?, James Blake's Playing Robots Into Heaven , and Doja Cat's Scarlet. Written By Ian Sherry 10/23/23 VOIR DIRE WAIT TIL I GET OVER 10,000 Gecs I DIDN'T MEAN TO HAUNT YOU UTOPIA HEAD OF THE LOVE CLUB LOTUS GLOW ENTERGALACTIC PINK TAPE Lana's Long Album Title LET'S START HERE GOD DID

blue scores have linked reviews scores

WALK WITH ME 8/13/2023 BY: IAN SHERRY Walk with me for a moment. Or rather, jump, with me, into a world where music is nonverbal. There are no vocals. Conversations discussing the greatest musicians of all time don’t include Prince or Aretha Franklin. Instead they focus on the giants of the ‘classical’ music era or the pioneers of Jazz. Genres like rock and roll or hip hop, genres which rely on a balance between instrumental and vocal rhythm, don’t exist. At least they don’t exist as we know them. Celine Dion works at a coffee shop, Marvin Gaye has recently taken a step back from his lengthy yet local career as an activist for civil liberties in the greater Washington D.C. area. You’ve n ever heard of Elvis Presley and you don’t need to have an opinion on him. Rodriguez was able to retire just a few years earlier from his factory job on Detroit’s west side and Marshall Mathers’ relationship with his mother withered to an uneventful conclusion at the hands of bitter yet mild-mannered and mutual avoidance. I could go on. You love music, as you should. It may be at the center of your life. You might listen to it every night with your family over dinner, or as you work through your days. Maybe it puts you to sleep every night or wakes you every morning. It might perfectly encapsulate a feeling you can’t otherwise explain, or make you feel ways nothing else does. You might even go as far as to say it's the most important thing in your life, that if you couldn’t hear you couldn’t go on. And that may be true. But even then, you would have no idea what you’re missing. It’s a crazy thought right? Vocals are an intrinsic part of what we know as music. Not all of it, but at this point, to me, it’s more noticeable when a track doesn’t have vocals than the reverse. There’s no point in attempting to pinpoint the invention of ‘singing’ as we know it. Instead, I offer the assumption that it can be traced back to before the human race reached its current genetic resting place. It’s inseparable from the human experience. Lyrics are responsible for the basis of much of the world’s shared culture, and the entirety of old-school educators’ beloved Classics Department. (I’m a fan too, don't get me wrong). Lyrics are not only a musical luxury, they are a mankind essential. They tell stories, plural. They have their own message (ideally), but beneath that they tell the story of whichever world and worldview birthed them. Whether it be a world of po litical turmoil, a world of prosperity, a world of famine or economic depression, a world of emotional depression, or a world seen through the eyes of love. This world is delivered through the filtered consciousness of the writer on paper, then again through the voice of the performer. Whether it be the same person or not, there are several stops on the road to the audience’s ears, but all trace back to their perception. Their point of view. Instrumental arrangements can deliver excitement, composure, emotion, and co untless other equally important feelings. But, one thing they simply cannot deliver is a point of view. This makes the most important job of the vocalist to deliver that exactly. A point of view. Otherwise, you’re doing nothing a powerful bassline or horn solo couldn’t deliver in its own right. Otherwise your voice is no more than an instrument, one with organic flaws and inconsistencies that Robert Cray’s guitar and Dizzy Gillespie’s trumpet don’t possess. Those flaws are less justifiable when the innately human component, that is perspective, is absent. This brings me to my daily union-supplied diss: Mac DeMarco. Believe it or not, I value my time on God’s greenish Earth, yet I still decided to listen to 9 hours and 30 minutes of Mac DeMarco. I did so with the intent of writing a review on his lengthy 2023 album, but a day later I was so severely mentally and emotionally beaten I withdrew in an attempt to salvage faith in mankind. Could I have written a lengthy Applebee’s Yelp-style revi ew? Yes. Could I turn this into that in an instant? Yes. But, because this is a sort of love letter to music, like that text you send your friend at 3:00 that is unintentionally received as concerning instead of wholesome, I’ll be prompt. Mac DeMarco barely says words, and when he does, they add nothing lyrically and little to nothing rhythmically. It’s neither helpful nor welcome in my book. No thank you Mac. However, it does make me appreciate real vocalists. Take D’Angelo, and I’m thinking Voodoo specifically. His best album, in my opinion, might as well be an instructional manual for what Mac DeMarco attempted to assemble without unboxing the directions. In the year 2000, aided by Questlove on Drums and a long list of heavy-hitting studio artists across hip hop, jazz, and r&B, D’Angelo headed the production for his brand new atypical r&b sound. Voodoo focuses almost exclusively on finding and holding grooves. Much of the time, the vocals come across as a sonic afterthought, there to decorate the sound. (“Untitled (How Does It Feel)” is the exception). However, the lyrics don’t get a break just because they aren’t at the musical forefront. There is no better example than “Devil’s Pie” which I believe to be one of the best songs of this young century. Instead of attempting to go in depth at the risk of failing to do D’Angelo justice, I’ll opt to encourage you to, please, listen for yourself. While you’re listening, if unpacking lyrics isn’t your jam (music pun), you could imagine D’Angelo is the first person you’ve ever heard sing over what you previously knew as music. Imagine how you’d feel as the worlds of poetry and music collide. Imagine the weight this new combination might carry. You could even compare it to any track of Mac DeMarco’s musical boot camp or perhaps your favorite instrumental tracks. The difference is palpable, because good vocals add something that no other instrument can: a point of view. Thanks . P.S. Here is a short, semi-random, list of songs I consider to have perfect vocal performances. “Hope She’ll Be Happier” , Bill Withers “Change” , Big Thief “Pink Matter” , Frank Ocean feat. Andre 3000 “Save The Children” , Marvin Gaye “Nude” , Radiohead “Never Dreamed You’d Leave In Summer” . Stevie Wonder “Heaven - Live” , Talking Heads “That Feeling” , Durand Jones

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.

Tabs On Tigers: Atop The American 5/9/2025 BY: IAN SHERRY On May 2, 2025, the Tigers released Kenta Maeda. The Tigers are the best team in the American League, and they are beginning to act like it. Tabs On Tigers Vol. 3 For a long time, I’ve dreamt that the Tigers would see success with rising prospects and, with the intention of taking themselves seriously, cut Javier Baez to free themselves of his $28 million-mid-career crisis and a roster spot. This is that moment. However, in the undeniably turbulent developments of the last year-plus, it was the Japanese legend Kenta Maeda’s $14 million contract that needed to be shed. Meanwhile, Javier Baez is, for the moment, the Detroit Tigers’ everyday centerfielder. The former all-star shortstop’s infamous struggles at the plate lost him his position to Dodgers’ system acquisition and frequenter of Anaheim’s short porch Trey Sweeney. Forced into a utility role, Baez took on the role enthusiastically, according to manager AJ Hinch on 97.1 FM’s pregame AJ Hinch Show. In that same interview, Hinch added that he’d continue to play Baez because “he’s a winning player” – a compliment that resonated with me. Weeks later, Hinch remained true to that insistence, and Baez has responded accordingly. On top of playing a smooth, instinctive center field Javy is looking like himself consistently at the plate. The hitter that can adjust to pitches and drive balls, who’s only shown up in flashes for Detroit, mostly with runners in scoring position, is showing up on a more consistent basis this season. He’s bumped his average to a perfect .313 over the recent Tigers offensive explosions and is sitting at a 1.6 WAR. In other words, he’s a winning player. As for those prospects, one in particular is starting to act his age. Spencer Torkelson looked like a new man in Spring Training. His stance is more athletic and upright, centered on his right leg. So far, the adjustments he’s retained have allowed for a simpler path to the ball, most notable in his compact homerun swings, of which he’s already had 10 (2 shy of Judge and Raleigh for the most in the AL). Torkelson’s .254 batting average is encouraging, though it fluctuates, and the theoretical benefits of power hitter status may lead to more on-base appearances anyhow. Tork’s success has complicated life for sophomore Colt Keith. His rookie season was ultimately a success at the plate after a slow start, which he’s mirrored so far this season. However, the ball is starting to leave the ballpark for the Tigers system product (and I don’t want to hear about the ‘Coors effect’ because 450 ft is 450 ft). Still sitting at just a .207 AVG and 4 homers, Keith is tasked with recreating last season’s offensive ramp-up while establishing himself in the field (the DH position has Kerry Carpenter’s name written all over it for the foreseeable future). One more Tiger prospect has made pleasantly surprising strides on both sides of the ball. With the injury to starting catcher Jake Rogers, Dillon Dingler was pushed into the everyday starting lineup, and he’s proved ready for the moment. So far, Dingler is batting .290, which is second best among catchers. A strong-hitting catcher in an age where putrid offense is tolerated at the defensive-minded position is no small advantage. Dingler is an athletic young player with a great arm, room to improve behind the plate, and the ability to whack the ball out of the park – who wouldn’t like to imagine a long career for him as Detroit’s backstop? Injury Update I imagined Parker Meadows (nerve) might return early in the year, but that proved a pipe dream when the Tigers signed Manuel Margot to a one-year deal. Since then, Meadows was placed on the 60-Day IL and Margot himself went to the 10-day with a knee injury from which he’s rehabbing now. In good news, Matt Vierling (shoulder) homered in a Toledo win on May 6th in his rehab assignment. Things have been quiet regarding Alex Cobb (back) lately, but he tracks to be rehabbing soon assuming no hangups. Jake Rogers (oblique) has begun throwing but is not immediately close to returning. John Brebbia (triceps) and Sawyer Gibson-Long (elbow/hip) have also resumed throwing. The Tigers have a top 3 pitching staff in the MLB, which was a possibility headed into the year, and a top 5 offense, which was not. We’ll see if the bats stay hot, but they are right now (even McKinstry!) and the Tigers are taking advantage. Do not take it for granted.

Tabs On Tigers 2/18/2025 BY: IAN SHERRY Forward: The Issue of Immediacy Greetings sports fans. You’ve heard about the Luka Doncic trade. The 25-year-old Slovenian star, formerly of the Dallas Mavericks, was traded to the Lakers within the first 24 hours of February for Hall of Fame Swiss cheese slice Anthony Davis and some change. Within those same 24 hours, like clockwork, Shams Charania’s early-bird tip was broadcasted to Americans nationwide via ESPN alert. The result, then, was a media-fueled and interpersonally experienced hellstorm of unkempt sporting enthusiasm and perplexed fandom that has yet to fully cease. The bone I’d like to briefly pick with the phenomenon above doesn’t concern the aforementioned hellstorm nor the reliability of the American sporting news system. It’s the pace. Mainstream sports journalism, because of its constant active, proactive, and reactive content stream, tends to skew in an emotional, argumentative direction that intertwines with fandom and biases to the point that the coverage becomes lost in the sport itself. With media being as conclusive and invasive as it is in today’s age, the lines between your couch at home and an pro locker room are more blurred than ever. While there certainly are benefits of this arrangement, I’ve been more aware of the dangers recently. I think it suffices to say, and this reflects across most genres of journalism to an extent, that the competitive rush to be lead opinion on a subject you’re passionate about can be blinding, and its tangible in the mosaic of bad takes that we’re meant to recognize as authority in today’s reportorial landscape. Resistance to that is The Culture Gyre’s angle indiscriminately. Now please join me in embarking on coverage of a subject I was born to discuss: Tigers Baseball. Tabs On Tigers Vol. 1 Alex Bregman’s 3-year 120-million-dollar contract became official Thursday, February 13th. In that moment he became the third highest annually paid position player, behind just Ohtani and Soto and tied with Judge, and in that same moment, a bullet was dodged in southeast Michigan. That came following the Tigers’ months-long pursuit of the veteran third baseman. General manager Scott Harris and the majority of the fanbase felt that Bregman would be a concrete solution for a currently uncertain foundation at the hot corner. Harris went as far as to offer a 5-year 170-million-dollar contract that most closely resembled the 7-year 200-million-dollar deal Bregman thought he was worth, but that was not to be. Now, the discussion surrounding Tigers team improvement has shifted to the trade market, but we’d like to offer a more complete synopsis of the most recent developments and current condition of this 2025 Tigers team. The most pressing concern of fans headed into free agency was the left side of the infield. While the starting pitching staff was alarmingly thin on paper last year, it’s hard to argue with the hodge-podged late-season results, plus having the reigning Cy Young offers a certain level of security. Harris addressed it anyhow with the thrifty signing of the veteran (and already inured) Alex Cobb, who’s quietly carried a sub-4 ERA for four consecutive years, and the recent readdition of the flourishing Jack Flaherty. Add a pair of bullpen arms, (one great and one solid) in Tommy Kahnle and John Brebbia, and an assortment of sub-30-year-old starting pitchers – plus Kenta Maeda - competing for a spot at the end of our rotation (2 until Cobb returns) and suddenly this pitching staff feels legit. But still, no signings on the left side. The left side of the infield – the carrot on a stick. Gleyber Torres used to play there, but not since the arrival of better fielding prospects on the Yankees infield. From there, the former 38-homerun all-star’s relationship with his former team began to wash away, and as the impact of that process began to show itself on the field over the past couple seasons, the stream carried him to Detroit. The Tigers front office locked him up for a season at $15k, just half the yearly offering we placed on Alex Bregman’s table. While Torres will have to earn his play in a platoon-heavy infield like he got tired of doing in New York and his overall game doesn’t compare to Boston’s most recent overspend, his offensive upside is that of a player with equivalent homerun power to Bregman. He is admittedly a notch below in most other offensive categories, but just one notch, and the optimist in you might expect a jump in plate discipline given his more veteran role on this team as well as an increase in RBI production assuming he finds himself more central in the Tigers lineup, which still boasts zero established major league left-side infielders. The Torres addition, of course, means a move for the Tigers’ long-term commitment Kolt Keith, but not to third base, his former position. Instead, Spencer Torkelson drew the short end of the stick this winter. The former number-one pick has had obvious struggles at the major league level, showing flashes at times on both sides of the ball, but ultimately scraping his way to replacement level over his first three seasons. With Jace Jung and Trey Sweeney being a part of the miracle Mudhen formula that propelled the Tigers to last year’s post-season and Matt Vierling working in at third, it seems Scott Harris decided the direst situation on the infield was at first base. At least, it was the most easily solvable. The fact is, problems remain unsolved headed into Spring Training, but Baez, McKinstry, Maeda, Hinch’s musical chairs batting order, the hitting coaches, and the away uniforms are for another day. For today, we have a minor leaguer, Trey Sweeney, attempting to prove himself a pro at shortstop. We have an ultra-scrappy yet questionable three-man platoon at third base among the switch-hitting Jung, versatile and athletic Vierling, and lefty-killer Ibanez. That goes with a right side manned by Torres and Keith (perhaps Torkelson against a lefty) to round out a blatantly poor defensive infield. Luckily, they’re backed up by what could prove to be an excellent outfield with premium left fielder Riley Greene, thoroughbred center fielder Parker Meadows, and the looming power threat, Kerry Carpenter, in right field. We also have a rotation book-ended by the lefty Cy Young Tarik Skubal and the potential of a Hinch chaosball platoon in the 5th slot, which will, in theory, allow Cobb to rehab and settle into the middle while Flaherty picks up where he left off and Reese Olsen continues to grow into one of the leagues most underrated young arms. We have a full bullpen and a decision to make at closer. We have a coach with the team’s faith. We have an active front office led by a diplomatic and measured GM with at least some of the owner’s attention and a willingness to trade. We have a lot to look forward to.

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.

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.