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(09/14/20 10:09pm)
The Transformers series has had a wide variety of interpretations over nearly 40 years, each iteration taking its own spin on the characters, plot, and world. Transformers: War For Cybertron: Siege is another attempt at a reboot, this time trying for a more serious tone compared to previous animated iterations. Sadly, Siege is a flawed attempt at reviving this long-running franchise. With only six episodes, the series is unable even to find its footing, leading to rushed character arcs and unresolved plots. The animation and voice acting also suffer from this lack of groundedness.
(09/14/20 10:07pm)
Going into the new season of The Umbrella Academy on Netflix, I was feeling cautiously optimistic. I had loved the first season, but felt that its last episode went off the rails. And since that episode was the lead-in to this new season, I had no idea what to expect. However, this new season absolutely exceeded my expectations and had me feeling back at home in the Umbrella Academy universe within minutes. Much like its predecessor, this new season balances emotional honesty and a quirky, fun universe in a way that has never been done before in the superhero genre.
(09/14/20 10:05pm)
One week and four studio sessions was all it took for Logic — with the help of producer No I.D. — to record his seventh and final studio album, No Pressure. The album was then edited, mixed, and mastered to perfection over the course of the year that followed. On July 16, 2020, Logic single-handedly broke the internet with the announcement of his retirement on Twitter and Instagram. He posted the album cover of No Pressure with the caption, “Officially announcing my retirement with the release of ‘No Pressure’ executive produced by No I.D. July 24th… It’s been a great decade. Now it’s time to be a great father.” This post shocked his fan base — also known as the Rattpack. Comments and tweets came flooding in with overwhelming support, sadness, and love.
(09/14/20 10:04pm)
This year has been full of surprises but nothing quite as crazy as the surprise release of Taylor Swift’s latest album Folklore. This is Swift’s eighth album, and it’s a great one for sure. Quarantine has been good to Swift, and she reveals her full potential once again with the follow-up to Lover — which was her greatest album to date. The cover art of Folklore is perfect with its ominous black and white forestry. There is nothing like an unexpected, album drop from one of the greatest female artists of our time, and album eight shows that surprises are worth waiting for. At last, the Swifties have been saved.
(09/14/20 10:04pm)
Neon Trees’ six-year break has paid off with the band releasing an innovative album full of quirky fun and frenzy that makes their sound unique. 2014’s Pop Psychology was a success, but album four shines with brighter passion. The Neon Trees have always captured that sense of youth and confusion as a young adult, much like Foster the People and The 1975. Many artists with a pop background discuss being young and unsure about life through their tracks, and Neon Trees are no different; however, they are doing better with differentiating themselves. Their new album I Can Feel You Forgetting Me is both a triumph for the quirky band and a blessing in this grim year we’ve all been living through. While Pop Psychology relied on simple pop physics and dance beats, this fourth album gives its listeners a new edge to the band’s sound with a familiar message of love and marauding life as we know it.
(09/10/20 5:30pm)
by Conner Tighe
Ms. Pac-Man blessed the world with a whole new generation of players in 1981. After Pac-Man’s success, creator Stan Jarocki decided he wanted to attract a wider audience demographic. While he was successful, this was unfortunately one of the many examples of sexism that spurred the video game world back then. Video games have since become more inclusive of the demographics portrayed in their games. According to a study by the Arts Management & Technology Laboratory, female characters were found to be over-sexualized due to the recent 3D technology in the mid-1990s. However, the underrepresentation of female characters and the sexism that surround femininity in the video game industry have decreased. Entire series have become centered on females just as much as male characters. Here are the top five most powerful women in video game history.
[caption id="" align="alignright" width="86"] Image from Kingdom Hearts Wiki[/caption]
5. Kairi (The Kingdom Hearts Series)
A short-haired girl who runs alongside her friends Sora and Riku on Destiny Islands, Kairi was a part of many people’s childhoods as the darkness devoured her heart in Kingdom Hearts. Sora and Riku both go looking for Kairi, crossing paths and eventually battling each other. Kairi appears in the next two sequels where she’s strong, compassionate, and Sora’s love interest.
With the power to wield a Keyblade—like Sora and Riku—Kairi fights the darkness alongside everyone else. Her character becomes powerful, and the games show Kairi’s progression of age and the inner turmoil she has within. At times she goes from a damsel in distress to the one saving Sora. Kairi will stick with fans long after they finish the “Kingdom Hearts” series.
[caption id="" align="alignleft" width="244"] Image from A New Game Plus[/caption]
4. Chun-Li (The Street Fighter Series)
In 1991, fans of Street Fighter 2 could hear the sound of the legendary lightning kick coming from a woman dressed in blue. Chun-Li was the first female character in the Street Fighter series, which would later expand to an additional five games. Chun-Li’s lightning kick is nearly unstoppable and is a sure victory for players (I won’t tell you the secret button combo, though). Chun-Li seeks revenge for her father after he is killed by M. Bison, the main antagonist of the Street Fighter series.
3. Buffy Summers (Buffy the Vampire Slayer: Chaos Bleeds)
After Buffy the Vampire Slayer ended its seventh season in 2003, a video game was released later that year featuring the cast. Most of the cast lent their voices to their animated characters for gamers to experience. Buffy Summers finds herself once again protecting Sunnydale from the ultimate evil known as The First, the first evil ever to be on Earth. Summers is witty and tough as nails. In the game, you battle vampires, demons, and zombies, playing not only as Summers but the other cast as well.
[caption id="" align="alignright" width="421"] Image from: TechnoBuffalo[/caption]
A year earlier, Xbox released Buffy the Vampire Slayer exclusively on the Xbox, but the game doesn’t compare to Chaos Bleeds. The latter allows Summers to perform unique combos on her enemies. As Summers, the gamer will fight evil in the present-day Sunnydale and eventually travel to an alternate dimension Sunnydale where evil reigns. Summers has been a powerful female icon since the early 90s, and this game enforces that.
[caption id="" align="alignleft" width="270"] Image from Fanpop[/caption]
2. Ada Wong (The Resident Evil Series)
The Resident Evil series features a variety of characters, including multiple males and females. While Wong’s character wasn’t the first female to appear, she’s by far the most cunning and exciting character. Her persona is very much like a modern Catwoman with mysterious motives and an untapped consciousness that no one can figure out.
Wong’s first appearance was in 1998’s Resident Evil 2. Since then, she has appeared in Resident Evil 4 and 6. Mainly sporting red attire, her most famous outfit being the classic “woman in the red dress" look, she pops in now and then to assist the main characters in their times of need. She uses a grapple gun that commonly gets her out of sticky situations while also wielding a small arsenal of weapons. Wong is the definition of a double agent, and she shares some interest in rookie cop, Leon Kennedy—another main character.
[caption id="" align="alignright" width="394"] Image from Game Informer[/caption]
1. Lara Croft (The Tomb Raider Trilogy)
While Croft’s character has appeared in a variety of Tomb Raider games, I’ll reference only the best: the Tomb Raider trilogy. Born into the Croft family, Lara shares a family interest in history and geography. After surviving a deadly plane crash in Nepal when she was little, she accidentally activates a strange dais that opens a portal. Lara’s mother, Amelia, disappears into the portal. Since then, Croft vows to find her mother while searching for Excalibur, a sword that activates the portal.
Croft is armed with her double pistols and climbing gear as she traverses deadly terrain, most of which are tombs. Croft’s story is interesting due to the mystery that surrounds her past and family. Amazingly agile, she is able to do acrobatics with ease. Croft uses these skills to outsmart enemies and booby traps within the tombs she traverses. Lara Croft was a large part of my childhood, and no other female character has come close to Croft’s brilliance.
Sources: Arts Management and Technology Laboratory
Images: A New Game Plus, Fanpop, Game Informer, Kingdom Hearts Wiki, TechnoBuffalo
Featured Image: Microsoft
(09/03/20 4:00pm)
by Conner Tighe
With brown curls and a dreamy smile, young pop idol Shawn Mendes has been blessing the music world and fans alike since “Life of the Party,” his 2014 debut single. Since then, the musician has produced three albums and has taken part in several collaborations with the likes of Taylor Swift (“Lover”), Astrid (“Air”), Khalid (“Youth”) and love interest Camila Cabello (“I Know What You Did Last Summer,”/“Señorita”).
Mendes has always connected with other musicians. Years ago, he was still on his way to becoming famous when he met Cabello. The two met in 2014 on Austin Mahone’s summer tour, where Cabello found an interest in Mendes. The two were in a game of public tweets, hinting about their friendship and experiences working together between 2014 and 2018. Mendes has always been excellent at telling his love life and struggles through his songs. An example of that is through "Señorita," the summer bop that changed everything between him and Cabello. Many speculated that there was chemistry between them, but from then on, the spark between the two was undeniable.
10. “Treat You Better”
The singer’s second album Illuminate was nothing short of amazing, with Mendes telling fans about his love and feelings of loneliness for an unknown love interest. With every album, there’s a track that stands among the rest, and then there’s the track that is skipped over. “Treat You Better” is the weakest of Mendes’ work as the message is drone and gray with appeal. The track talks of the singer’s jealousy and comparison of him to a certain someone. The message doesn’t land, and it’s best to skip this track as it takes any listener back to those cringey high school days.
https://youtu.be/lY2yjAdbvdQ
9. “Mercy”
Again from Illuminate, Mendes does better with a track of love and a woman’s rage that drives him mad. The beginning hymn of the piece is soothing and only gets better with each passing second. The singer explains how his heart is sensitive about his girl, and he wishes she would have mercy on him. Mendes, like so many other artists, took a universal message and spun it with rhythm and a winning track of sadness and emotion. Mendes is no stranger to having love issues like most people in their early 20s, but crafting the idea into art is fantastic; the line “I’m prepared to sacrifice my life. I would gladly do it twice” gets me every time.
https://youtu.be/KkGVmN68ByU
8. “Believe”
A song of inspiration and seeing hope, this Mendes track was featured on the “Descendants” soundtrack, which premiered on Disney Channel in 2015. The music video shows a community coming together to recognize unity and the central message focuses on humanity and our flaws. The message is fantastic and represents Mendes’ character. The singer has always displayed points of positive reinforcement and genuine kindheartedness.
https://youtu.be/IZMYO_iT-r0
7. “Something Big”
Mendes had an epiphany while he was on Austin Mahone’s tour. The young singer’s fame was snowballing, and Mendes expressed his surprise with this newfound acclaim by producing “Something Big.” The piece itself is terrific with its pop inspirations and repetitive line, “woah, woah…” you get the picture. Mendes was discovered over the now-dead platform Vine and has since grown into someone unforgettable in the music industry. “Something Big” is what we’ll all be saying years from now about his career.
https://youtu.be/mytLRy32Viw
6. “Youth”
The only collaboration on this list, “Youth” features Khalid as he aides Mendes on this track of self-discovery about being young. The singer understands that it’s difficult being young in a changing world, and “Youth” is more of a proud statement of finding oneself. No one stays young forever, and being youthful is something many of us take advantage of. The message Mendes wants the listener to take away? Enjoy being wild while life allows you.
https://youtu.be/sJUGAIf1Px0
5. “There’s Nothing Holdin’ Me Back”
A quick Latin music appeal and soft vocals envelop Mendes’ piece of art that talks about a wandering man—that man being Mendes. In this song, the singer is going all-in with this mysterious girl. When the song was released, radio stations everywhere couldn’t get enough of the rhythmic appeal of this fast-paced guitar song. The pop star proves again that a relationship is empowering, and love is a mysterious thing.
https://youtu.be/dT2owtxkU8k
4. “Ruin”
Mendes has always clarified that John Mayer has been one of his longtime inspirations in the music industry. In a 2018 interview with Time, the singer said Mayer was his “favorite person in the world.” One can’t help but wonder if that inspiration was behind this beautiful track. One of the singer’s slower tracks, it proves that sometimes slower is better. The message is sad, providing listeners with a loss that Mendes was facing at the time of an ended relationship. Seeing your ex with someone can be great, but it can also be sad, and Mendes is all about showing his vulnerable side.
https://youtu.be/m-nCLLnQA5c
3. “If I Can’t Have You”
I can’t help but bang my head or tap something nearby to the beginning rhythm of number three on the list. “If I Can’t Have You,” believe it or not, was written by Mendes for singer Dua Lipa, according to Teen Vogue. A fast tempo and repeating lyrics are always golden with this pop star. The cover art is beautiful and resembles a beach vibe, featuring a slight outline of Mendes with waves crashing. The single is a piece of art with a heart of longing and wordplay of dreams. If Mendes can’t have you, he’ll undoubtedly write about you.
https://youtu.be/oTJ-oqwxdZY
2. “Lost in Japan”
Japanese aesthetic and slight references to Bill Murray’s “Lost in Translation” surround this heavenly song that earned number two on this list. Zedd’s version of the single is incredible, although authenticity reigns supreme here. Mendes is in love within this song, and he wants to party, have fun, and explore his desires. “Lost in Japan” expanded the boundaries that the singer was afraid to cross with his earlier work. Listeners can feel Mendes coming into his own with this Juno Award-winning track. Nothing feels like being lost in an unknown city with a beautiful woman. Mendes can tell you about the experience.
https://youtu.be/ycy30LIbq4w
1. “In My Blood” (Portuguese Version)
Half English, half Portuguese, “In My Blood” inspires all around the world with Mendes growing from his pain and struggles within his life. This single easily earns its spot because of its universal message, and if anyone reads the news, Mendes had a lot to say about the track. In a 2018 interview with Elite Daily, Mendes says, “This song is the closest song to my heart that I’ve ever written, and I hope you guys love it.” We love it, Shawn. We more than love it. The overlying message of inner strength and self-awareness ties to his rosy image that was the center graphic for his last tour. Roses grow through rain and shine. Mendes inspires all with his music, saying that everything will be okay. We need that message now more than ever.
https://youtu.be/D9Fq68qMMBM
The singer has gone dark in the music world unless you count the time he sang “What a Wonderful World” live with Cabello. It’s rumored that Mendes may collaborate with Justin Bieber on something after he was spotted outside of a recording studio where the two have been seen previously. Mendes has been good friends with Bieber’s wife Hailey, and if something is going on, it may be Mendes’ most significant piece yet.
Sources: Elite Daily, Teen Vogue, Time, YouTube
Featured Image: E! Online
(09/02/20 7:33pm)
by Conner Tighe
The three-member rock band Point North has returned with their third album Brand New Vision. Originally founded in California, the band consists of vocalist Jon Lundin, guitarist Andy Hershey, and drummer Sage Weeber, who play progressive rock. The rock genre has undergone many phases since the 90s with bands like Nirvana and All-American Rejects, and 20-plus years later, mainstream rock has evolved into something more pop-inspired, but with the same emotion that rock provides.
2018’s album A Light in a Dark Place introduced Point North to the world, and two years later, the band continues to dazzle rock fans with their clear, emotional vocals centering on relationship drama and a dark aesthetic. Brand New Vision stays true to the band’s sound with little change but soars high.
“Into the Dark” introducing change
Point North introduced one of their most popular songs on Spotify, which was “Into the Dark,” earlier this year as a single. It’s one of their more well-known tracks, and it's one of their best because of its change in rhythm and fast-paced pop appeal. The pop genre is no stranger to entangling itself with other genres, sometimes for the better and sometimes not so much. The song “Into the Dark,” much like the album’s cover art, makes listeners feel as if they are floating or falling into a dark abyss of emotion. The original single was fantastic. Brand New Vision introduces an updated version of the track at number two on the list. Sleeping with Sirens’ Kellin Quinn lends his voice halfway through the song, and honestly, it’s not a bad addition. The band tampered with one of their greatest tracks, and it actually sounds better. The phrase “don’t mess with a good thing” does not apply here.
Out of the dark
Point North, much like the late Nirvana, has this appeal of darkness. The band is impressive in their own right, but there’s a battle raging within the mind of their music. Much of what is expressed in Brand New Vision in songs like “Into the Dark,” “Nothing Left to Lose,” and “Lethal” have this depressive vibe, but it seems like music is a savior for the band. There’s this common theme with bands like Point North where listeners are stuck in a dark cave at the beginning of the song but find the light to escape by the time the song ends.
This sort of symbolic head game is gripping, and listeners will quickly catch on to a theme of political injustice within the album. Point North wants to connect with their listeners, and there are a variety of songs with this message of holding on during tough times, even when, in the case of track nine, “No One’s Listening.” Hopefully, though, fans of this band will listen, because Brand New Vision is compelling and a perfect representation of rock’s sound in 2020.
Hidden messages
Musicians making political statements is nothing new and has been going on forever, it seems. Nancy Sinatra, Rage Against the Machine, Green Day, and Point North are just a few of the brave souls who have put themselves out there to speak against injustice. Listeners will detect anti-Trump messages within several tracks like “Distant” and “No One’s Listening” that speak to the ongoing controversy with ICE. The band is smart enough not to make Brand New Vision entirely politically affiliated, but they do it just enough so as to be noticeable.
Top Tracks:
Nothing Left to Lose
Into the Dark (feat. Kellin Quinn)
No One’s Listening
Recommended if you Like:
All American Rejects
Rage Against the Machine
Sleeping with Sirens
Featured Image: Genius
(09/02/20 4:00pm)
by Anthony Herring
For decades, superheroes (and by extension, their superpowers) have been all the rage. Characters such as Superman, Spider-Man, Wonder Woman, and many more possess abilities that regular people like you and me can only dream of having. Who wouldn’t want to leap tall buildings in a single bound, create and generate their own electrical fields, move objects with only their mind, or shoot laser beams out of their eyes? The possibilities are seemingly endless.
Project Power, a film released on Netflix on August 14th, explores this superhero concept. However, rather than having its characters gain their powers through radioactive spider-bites or mutant X-genes, they get powers through an interesting method: by taking a pill. Much like the way superpowers are shelled out in comic books, the powers you are given if you take one of these pills is entirely randomized. You want to have super speed? Well, you better pray that’s what you get, because you have to leave it all to chance.
Now, with such a unique premise at its disposal, I was hoping that Project Power would be a very entertaining thrill ride. Unfortunately, however, the entertainment was marred with many flaws.
Story? What story?
The story of Project Power starts off simple enough: a pill known as “Power” is being supplied throughout the city of New Orleans, and it grants users superpowers for only five minutes. The suppliers of the pill act as the film’s interpretation of drug dealers, giving potential users Power for a price. This concept is at the forefront of the film’s first act, and I thought it was very creative. Seeing people take this pill and use their powers in pretty inventive ways—such as an invulnerable cop taking a bullet to the head and surviving it during a bank robbery—was quite fun to watch.
However, the film’s story becomes generic and predictable once the second act begins. It is revealed that the U.S. government and a private military contractor created the pill--which is itself the result of an operation known as “Project Power” (See what they did there?). I consider these revelations to be rather tired and cliched, as other pieces of comic-book and superhero-related media have done similar plotlines many times before, and in some instances, in a far better and more complex manner than this film. (I’m looking at you, Black Lightning). It doesn’t help that the main antagonists of Project Power are your typical run-of-the-mill, power-crazy bad guys that spout monologues about their product being the “next stage of human evolution,” being “humanity’s saviors”... yadda-yadda-yadda.
Foxx and Friends
The film follows three main characters: Art (played by Jamie Foxx), an ex-soldier who was in league with the U.S. government; Robin Reilly (played by newcomer Dominique Fishback), a street-smart kid that deals Power; and Frank Shaver (played by Joseph Gordon-Levitt), a morally flexible cop that is friends with Robin.
When Project Power begins, the viewer is made to believe that Robin is the main character. Her life as a Power dealer is shown, along with her friendship with Frank, who gives her a motorbike as a belated birthday present. Her school life is also on display, showing her hating her classes and wanting to be a rapper when she gets older. Fishback’s performance as Robin is one of the better parts of the film, providing a grounded contrast to the wackier events that unfold around her. However, once Art enters the picture, her character is relegated to a supporting role. This was very disappointing, as we are left with a Robin who could’ve been developed further.
Our second main character is Frank. He is the weakest character of the main three, as the movie provides little to no backstory about him. All we know is that he’s a cop, he’s friends with Robin, and he uses Power—that’s it. Matters aren’t made any better with his character as there are significant chunks of the film where Frank is nowhere to be found, almost as if the filmmakers forgot about one of their leading actors. If there is one positive I can give to this character, it’s that Levitt’s performance is passable, save for the poor attempt at a Southern accent (which slips constantly when Levitt delivers his lines, and the actor seems to throw in the towel by the third act and just use his regular voice).
Lastly, we have Art. Foxx’s character is by far the most developed of the three, with a five-to-ten-minute sequence dedicated entirely to delivering his backstory. From this backstory, it is revealed that he has a daughter who is being held captive by the government and that he wants to rescue her. Art’s relationship with his daughter is first hinted at through frantic flashbacks, which I found effective in highlighting the trauma he experienced from losing her. Consequently, the film tries to create a similar bond between Art and Robin, but it fell flat as I felt no sincere connection between them at all. Having Robin suddenly be invested in Art’s mission after only knowing him for less than 24 hours isn’t exactly the best way to go about establishing a deep bond. Still, Foxx’s performance as Art is the strongest of the trio, with him delivering some solid comedic and emotional moments.
Visual Splendor
Project Power truly excels in its visuals. The special effects used to illustrate the effects of Power aid in showing how terrifying and awe-inspiring these abilities can be. For instance, there is a scene toward the midpoint of the movie where the Power pill is being demonstrated in front of a group of potential buyers. The pill is subsequently given to a woman, who gains ice-based abilities. Her breath becomes frosty, ice forms on her arms and legs, and when she touches a glass cage, the glass itself freezes over. During this entire scene, the visuals are breathtaking, as the ice that the woman created looked insanely lifelike and believable.
The film has strong cinematography and color grading as well. While they are not used as much as I would’ve liked, the establishing shots are breathtaking, engulfing the screen in the entirety of New Orleans, some of its more distinct districts, or even the Gulf of Mexico right near the city. The use of color helps these shots look even more beautiful, making them pop with vibrant reds, greens, blues, and yellows.
Featured Image: IMDb
Images: IMDb
(08/28/20 4:00pm)
by Brandon Carson
Debuting in 2013 with a self-titled EP, Glass Animals stormed onto the scene with the song “Black Mambo,” a quirky indie-pop song about being outmatched by someone. Hailing from Oxford, England, the band grew quite an audience with their hip-hop inspired beats and fun, sexy melodies. The band released their first full-length album ZABA in 2014, which featured more or less the same sounds from their EP with more realized songwriting. Their creativity continued to shine with the release of How to Be a Human Being in 2016. The album is a light concept of stories that people had told front man Dave Bayley on tour. Overall, it wasn’t too different from ZABA, but with songs like “Youth,” “Season 2 Episode 3,” and the beautiful closer, “Agnes,” the vocals became just another instrument and made the songs even more powerful. Their new album, Dreamland, unfortunately falls flat and continues to milk the same sounds that gave them success. Don’t get me wrong, as with their two past records, there are quite a few good songs. However, the concept is inconsistent musically and some songs are so by-the-numbers for Glass Animals that they come off as filler. That being said, there are a number of notable tracks that stand out and save the album.
The Glass Animals standard
With Dreamland, Glass Animals have fully realized their sound and what works for their audience. While that’s great for the band, it takes a toll on the music and flow of the album. The fantastic opener, “Dreamland,” sets the tone for the concept of 90s and youth nostalgia with its wavy use of synths and chill atmosphere. While the vocals are basic for Glass Animals, the production is dreamier and more lo-fi than it has been previously. But as soon as “Tangerine” starts, it’s clear that that change was a façade. The hip-hop inspired beat and catchy vocal melodies make it feel like the band doesn’t want to create something out-of-the-box and would rather stick to what they know. “Hot Sugar” continues this trend with yet another hip-hop inspired beat featuring repetitive vocals and a catchy melody.
“Space Ghost Coast to Coast” feels like it could have been the change of pace the album needed with its more fun but chill sound. However, it is too short and repetitive to go anywhere new, making it feel like a standard song for them. Fortunately, their 2019 single “Tokyo Drifting” saves the flow of the album, creating a nice change of pace musically and featuring a great verse from Denzel Curry. Even the lyrical content is different on this song, providing a very braggadocious attitude in contrast to the usual sad boy attitude. The album picks up from here and gets a whole lot better. However, Dreamland is 16 songs long, and it is still peppered with average songs that fill up the space (I’m looking at you “Heat Waves”). None of the songs are bad per se, but nothing about them stands out much, making them a little forgettable.
When it’s good, it’s amazing
Even though Dreamland feels like an average Glass Animals album at times, when there are good songs, there are quality songs. “Melon and the Coconut” finally brings back the dreamy vibe of the opener and tells the humorous story of a melon and coconut breaking up. The instrumentals are new to the ears, bringing a much-needed change for the album. “Your Love (Déjà Vu)” keeps the fire lit with an exciting and suave song that has the best production on the album. It offers the catchy vocal melodies of old while also taking more chances musically that really pay off. “It’s All So Incredibly Loud” pushes the envelope and delivers both musically and lyrically. Even the subject matter for the song is interesting; it’s about the three seconds after someone tells another person something that they didn’t want to hear, and how the silence after is “incredibly loud.” The closer, “Helium,” is a fantastic closer with interesting production choices, a variety of musical shifts, and the dreamy vibe from the opener that rounds out the album well. While the album is plagued by mediocre tracks, these songs provide just enough quality and change to keep the mediocrity from completely infecting the album.
Interludes that lead to nowhere
One particularly confusing choice in the album comes in the form of its various interludes. There are interludes scattered across the record with similar titles called, “((home movies: <insert individual title here>)).” With four in total, two are very short one liners from Bayley’s home movies as a child. While the concept, reinforced by the childhood quality of the interludes makes sense, it doesn’t really go anywhere, as the songs themselves don’t do much to make the album’s concept known. The other two, however, are longer and create more of a connection with the songs, while keeping the choice to use audio from home movies. Overall, the interludes seem disconnected from the album and easily skippable.
Top Tracks:
It’s All So Incredibly Loud
Melon and the Coconut
Your Love (Déjà Vu)
Recommended if you like:
Local Natives
Portugal, the Man
Hippo Campus
Featured Image: U Discover Music
(08/27/20 5:21pm)
by Nick Black
Disclaimer: This review is of the Nintendo Switch version of the game.
When reviewing a game like Rogue Cube, or looking back on any particular memory, one of the first things that comes to your mind is frustration due to a psychological phenomenon known as “The Negativity Bias.” It’s the concept that positive experiences will have less of an impact on your memory and personality as compared to the effects negative experiences will have. This applies to all aspects of life, from hanging out with your friends to watching a movie to even playing a video game. Now, what does this all have to do with Rogue Cube? Simply put, Rogue Cube is a fun indie game that has a lot of passion put into making it, and you can see and feel that when you play it. I would probably recommend it depending on your tastes, but I most likely will never play it again, because of how frustrating it was to beat it.
Roguelike Rogue Cube
Rogue Cube is a top-down action adventure game published by Ratalaika Games and developed by Bipolar Dawn, it is available for Switch, PS4, and XBOX ONE. The game more specifically fits the roguelike genre of action adventure. Think Binding of Isaac; similar to that, in Rogue Cube you play from a top-down perspective using ranged attacks to defeat enemies. The game is randomly generated, so you don’t know in advance what specifically is ahead or what abilities you will get. And to beat the game you have to reach the last level of the dungeon by defeating the final boss like you're a kid playing Ghosts ‘n Goblins in 1985. What I mean by that is that the game can get brutally hard, and if you die, it’s straight back to level one with you.
It’s a small game, with a simple goal and objective. You start out by picking one of three different colored cartoon cubes (along with 6 unlockable ones later in the game), each with their own distinct abilities, with a goal of killing every enemy on a floor. Repeat this for each of the three floors per world (with the exception of in between bosses and in the final world) and you win. The catch is, it has to be a clean sweep. If you die once, it is back to level 1 for you. This may make it sound like a short game; the campaign is only 11 worlds, four of which only consist of a boss room. But that is where the fun of the game comes from; it’s a quick game with a lot of replayability when it comes to how you want to beat it. Every run, you get to try different characters, weapons, and tactics. You can master all the characters and unlock every secret just for the sugar rush of dopamine it creates.
I won’t lie, for a five-dollar game I was very surprised and happy with what was offered, especially in the music department. There are some pretty good retro tracks for anyone who likes the Roguelike genre. However, my grievances come from the fact that despite all that replayability, I’m probably never going to pick it up again now that I have beaten the whole thing.
Old-school shoot 'em up
As I mentioned before, the game is a top-down twin-stick shooter. Usually this entails a fast-paced, action-packed style of gameplay with an emphasis on getting better and better. And while the drive to get better is present in the game, what makes Rogue Cube truly stand out is its gameplay, namely its emphasis on analyzing, corner peaking, and playing it safe.
The more I played the game, the more I realized certain strategies would get me killed faster depending on what character I was playing. Each character in the game not only has different starting stats but also, as you play through the game getting EXP, your level ups are different for each character. So, certain strategies will be more beneficial depending on your character — some characters will be stronger with certain weapon types and others get more health and speed bonuses. These differences in strategy based on character go towards the game's replay benefit when you also add its more than decent weapon selection.
You can only have two weapons at a time, and the majority of these weapons are a whole bazaar bargain of guns in different categories that vary from realistic to wonderfully ridiculous. To get a new gun you have to find certain large, colored chests that randomly spawn around the level and sometimes in the wall. Because of the fast pace of the game, and the fact that you can get a game over so quickly, I felt really encouraged to experiment and try out different weapons. I was happy with the result, as there are some really creative guns in here (my personal favorite being the rainbow gun which can clear out some very annoying rooms early on).
But as I kept replaying the game, I found after my second hour that there was really only one universal way to play the game. Two simple words: Be cautious. Running into a room of enemies is what gets you killed, and in the case of some characters, it will take only one or two bullets or hits to drop you. So, the strategy that will give the most long-term success is to camp doorways to rooms, and cornerpeak at enemies until the room is clear. And while I do enjoy the unique way the game works, it does mean that soon you will always play with the same weapons using the same strategy as late-game levels will spawn so many enemies that there is little incentive to play aggressive only to die five seconds after.
I always knew what weapons to pick up on any new run if I was going to win: Shotgun for close range high damage and plasma cannon for high damage, plus the ability to ricochet my bullets to shoot behind walls. And trust me, the game knows these are the best picks because there’s even a hint on the loading screen that says “the shotgun is dope.” Very similar to Binding of Isaac as well, you will soon realize just how bad some weapons are and never touch them. For example, melee weapons are never of use in this game; you will die in mere seconds if you try to use them. Even characters who get tons of bonuses for melee damage, like the ninja, aren’t fun to play with because of how fast you can die at any point of the run. On future playthroughs with other characters, I found I always just skipped weapons to get to the good stuff, and because of the RNG (Random Number Generator) of the game you can be stuck with trash for the entire run, which can basically lead to a guaranteed game over.
When the robot just hates you
Let’s talk about that Random Number Generator, by the way. The majority of the game's biggest flaws come from its RNG system. The game can spawn next to no enemies or 500 on any given floor; you can never predict how many will be on a floor or in a room no matter how small the space is. Thus, depending on what character or level you are playing, that can put you into some really unfair situations. Sometimes you won’t even get a weapon with which to fight. I once got as far as the end of the second world before getting a gun chest. I don’t care if I just need to “get good” in that scenario; in fact, I got through it and was able to beat the boss after, but I knew while I was playing that the game was progressing not as intended.
Remember when I said chests sometimes spawn into walls? That is also quite a prevalent issue. While ammo is readily available (that is, depending on the RNG), you can get destroyed by not having certain ammo types spawn. This makes checking every chest at the end of a level a must so you have as many resources as you can. But what makes scavenging annoying is when locked doors don’t have chest keys spawn on either the same or previous floor, leaving it perpetually locked and teasing you. Or when the level exit spawns and just straight up cuts into a hallway leading to a chest, siphoning a potential weapon you may have wanted to try.
But those are just minor nit-picks with the RNG, right? Even Binding of Isaac has annoyances because of its RNG, and sometimes the game just doesn’t let you get abilities or upgrades that are anywhere close to good. Not going to lie, that can be really frustrating and discouraging in any game that relies heavily on a randomizer-based system. But what makes me want to quit playing the game and throw the controller across the floor is when the RNG kills me as soon as I start a level. Sometimes you will spawn in a level directly in the line of sight of enemies in another room and instantly die, as health carries over from floor to floor. So, if you have one to three health left, you can instantly die in some cases without getting a fair shot.
And this is not a one-time scenario — all of the previously mentioned scenarios are regular occurrences. All of them have a strong chance of happening on a good margin of your playthroughs. Plus, that’s not even mentioning some of the bosses who can just instantly end runs depending on the weapons you have. Even then, the first two bosses are really easy, it’s only the last two that really give an interesting and fun challenge. But depending on the character, the first two can be really bullet spongey, so that can also degrade interest in repeat playthroughs since the bosses are always the same.
It’s funny, I gifted this game to some friends on Switch and we all found that we got so tired of the first two bosses that we all picked the riskiest character in the game to get them over with as fast as possible. Everyone picked the Purple Square for his flat triple damage across the board. Who cares if he can get one shot by any boss? The Purple Square cuts enemy health like a hot blade going through melted butter, beating bosses in less than ten seconds. In fact, we realized we could probably beat the entire game in less than ten minutes if we got the right weapons fast enough. Which ended up being the case for me, and this was good because I only had one run left in me after getting shot through a wall on the last level before the boss.
End cap: end game
With all of that said, and I can't stress this enough, I actually had a really good time with it. I was happy and satisfied when I beat the final boss; I felt great that I completed it. It’s a game that pushes you to improve and get better, and I always enjoy games that can give me that drive to beat it. However, I had no urge to continue on after I beat the final boss; once the credits scrolled I had no drive to try again. I think with everything I’ve said about the RNG and the way the game rewards the stay-safe and play patient strategy, I felt I didn’t need to play through it again. Every run is bound to be similar, right down to what upgrades I would get depending on my character.
Now this can be considered a plus to the game, considering that in something like Isaac the game can give you junk and practically force you to play the game in a low power state. But Isaac has a plus with its RNG in that every run can feel unique. In Isaac there is no one true strategy; the strategy forms from what you get and how you adapt. Rogue Cube is very one note — it’s the same gameplay style and same all-around mechanic in very specific orders. Every character will start with the same stats, same power-ups, and go through the same gimmicks. The variety is somewhat lacking, but still commendable considering the size and price of the game. However, it is a problem when it comes to the game’s longevity.
The game has daily challenges and even a challenge mode, but I know it’s going to feel like the previous campaign, just with a few extra gimmicks or tricks. It’s not enough for me to want to complete the whole thing, challenges and all. I think if the game allowed you to keep EXP after you got a game over and extended how many levels you get from its cap of nine, it could have really helped the game attract me to play it longer. It certainly would have at least encouraged me and my friends to try characters other than Purple Cube.
Featured Image: Nintendo
Images: Nintendo
(08/26/20 7:50pm)
(08/26/20 7:37pm)
(08/26/20 6:00pm)
by Conner Tighe
“This digital life was not for them. Not in a mean way, they meant no offense. It’s not you; it’s them, and they needed more. They didn’t know what that ‘more’ was, but they needed it, so they went to find it, and this is that.”
From a band that started as a small group of believers and friends, The Wonderlands have jump-started their music career with their first album This Digital Life. Lead vocalist, guitar player, and Ball State student Miles Jena befriended bassist/vocalist Adam Steele in the eighth grade.
“We started as a two-man band called We Thee Ubiquitous and wrote folksy/indie music. We did that for a while but were unsatisfied because we could never play big rooms or events,” says Jena. Since then, two has grown into five band members. Jillian Gavigan provides keyboard/vocals, Derek Johnson lends his talent with drums, and Patrick Oakes plays guitar and vocals.
This Digital Life is more than another album in the alternative/indie world; it’s a story of these five members coming together to tell an important message about young love and becoming more in the present rather than the trend with technology.
“Free Falling” in passion
There is an absolute passion and aesthetic charm in every track. With atmospheric appeal and digitizing vocals, the message becomes ever more apparent that The Wonderlands know what’s happening with young love. “Morning, Mourning'' shows genuine hurt and resilience in fighting with ourselves when it comes to love. The track talks about how love affects us as people, and just as we lose ourselves within love, we find ourselves when love ends. There is mourning of what once was both within us and within our partner. Yet, as the band implies, it’s all a part of growing up. The track provides a brilliant, emotional message of hurt and hard truths that appeals to listeners.
A new beginning for folk
The Wonderlands have established themselves as a folk/indie band with clear inspirations from jazz and coffee shop music alike. This Digital Life features some collaborations that show The Wonderlands have connections in high places. Nothing is accomplished without friends, and this album is no different. Track six, “Feels Like,” stands out among the rest of the songs due to the collaboration with Saint Lavender and Trey Campbell on this track. The song is a definite jazz phenomenon with a sound that’s soothing and worth repeating on the playlist. The work of collaborations and lyrics behind these tracks are hopefully opening up a new world of Folk music.
If this is the new future of small bands emerging into the music world, keep it coming. There is little room for criticism when it comes to this message of solace without technology enveloping our lives and being present in the now. Having friends that believe in you and support your dream is what The Wonderlands are all about. The music is an honest presentation of talent and folk in a new age.
Getting lost in This Digital Life
This Digital Life contains a message of losing oneself to life and priorities that many people can relate to. Finding yourself again while maneuvering school, friends, and other activities is stressful but comes with perks: love, a passion for music, and friendship. “The meaning behind This Digital Life is that I was searching for answers as to how to live in this digital age. I was extremely frustrated with the fast-paced short-attention-span life I was living, feeling like I wasn’t going anywhere and was trapped by ads and everyone trying to grab my attention,” says Jena.
While getting lost may be a dreadful thing, The Wonderlands show that getting lost is the best way to be found. This Digital Life makes listeners rethink their lives and ponder their experiences with every note. This five-member band is trying to be something different and breathe new life into a repetitive genre that many of us know all too well. The Wonderlands are here for a new age of music and are here for their fans. They know technology has become a dire need in our lives, which severs real connections that we all might create otherwise. This piece of art is a clear sign of standing strong together with a message of clarity and community.
Top Tracks:
Feels Like
Let’s Take a Ride
Anthem
Recommended if you like:
The Lumineers
The Wallows
Mumford & Sons
Featured Image: Facebook
(08/25/20 5:00pm)
by Emily Guffey
The Transformers series has had a wide variety of interpretations over nearly 40 years, each iteration taking its own spin on the characters, plot, and world. Transformers: War For Cybertron: Siege is another attempt at a reboot, this time trying for a more serious tone compared to previous animated iterations. Sadly, Siege is a flawed attempt at reviving this long-running franchise. With only six episodes, the series is unable even to find its footing, leading to rushed character arcs and unresolved plots. The animation and voice acting also suffer from this lack of groundedness.
Wasted potential
In the show, characters switch sides in an instant or provide little to no actual relevance to the plot. It’s difficult to connect with characters within such a small time frame, and much of the show depends heavily upon one’s knowledge of other Transformers iterations to understand what is going on. One thing I can commend the series for is taking certain characters into different directions unique to this series: Bumblebee is given a bit more background and personality, and Skyfire was completely reworked and given a new role in the main cast, which has been divisive amongst fans as his new personality is much more hostile than he was originally. I also enjoy the fact that what can only be described as D-tier characters (such as Spinster or Red Alert) actually get a little bit of screen time.
Then there is the actual story. Plot devices are introduced and destroyed within 20 minutes, and the same happens with superficial connections among characters. It’s even worse when many of these plot devices were created exclusively for Siege, but do nothing for the plot, and even open a few extreme plot holes that damage all involved motivations.
More than meets the eye
The animation itself is very hit or miss. Aerial fights can be very thrilling and high in action, but lack variety in attacks or creativity. When it comes to close combat, though, the animation takes a massive nosedive in quality. It often feels that certain frames are missing, creating janky fight scenes with very little flow. During more calm scenes, the animation can be a bit stilted, but it’s less bothersome in these moments.
Voice acting for a series like Transformers is daunting, as fans have very particular feelings about how certain characters should sound. The voice acting is decent, and there aren't any outstanding performances, good or bad, to report. Jake Foushee, the new voice actor for Optimus Prime, is the only one I’d like to commend, as his Optimus Prime voice has significantly improved since working on Transformers: Cyberverse, going from a bad impression to a decent interpretation.
The bright side
There are a few things I can commend the series on. I can also say I’m happy to see a focus on creating a more mature version of the series. There have been attempts at this before, such as the IDW comics, or the War For Cybertron video games that, while sharing the same name as this new series, are not related in any way. This is the first mainstream animated series to attempt this, and I would say that it got a lot right in the way of world building. It understands what it wants to be, but doesn’t understand how to make itself that.
Overall, I think the series needs a lot of work. Since this is meant to be a trilogy, one can only hope the next arc, Earthrise, will bring story and animation improvements, or may be given more time to flesh out its story.
Featured Image: IMDb
Images: IMDb
(08/14/20 4:05pm)
by Emily Worrell
Going into the new season of The Umbrella Academy on Netflix, I was feeling cautiously optimistic. I had loved the first season, but felt that its last episode went off the rails. And since that episode was the lead-in to this new season, I had no idea what to expect. However, this new season absolutely exceeded my expectations and had me feeling back at home in the Umbrella Academy universe within minutes. Much like its predecessor, this new season balances emotional honesty and a quirky, fun universe in a way that has never been done before in the superhero genre.
The Umbrella Academy: Season 2 starts where the first season left off, with Five attempting to use his powers to transport all seven siblings back in time. Unfortunately, this goes horribly awry, and they are all transported back to the same alley in Dallas in different times spanning from 1960 to 1963. To make matters worse, Five discovers upon landing that the threat of apocalypse has followed the siblings back to the 1960s, giving them a total of 10 days to find each other and save the world.
Same great characters, brand new setting
Despite the setting being completely different, the characters stay consistently themselves in this new season. The choices that were made with what happened to the characters in their 1960s lives not only made sense based on the types of people they are, but were also interesting and added layers to the show. For example, the choice to have Allison pursue civil rights activism without using her powers highlighted her passion and desire to leave the consequences of her powers in the old timeline. Klaus becoming a cult leader was both on brand and hilarious, adding to the show’s quirky and unique brand of comedy. However, I think the most interesting outcome of this time jump was Vanya’s, as she was hit by a car immediately after landing and completely lost her memories. It was heart wrenching to watch her rediscover what had happened in her life, and added another layer of emotional complexity to her interactions with her siblings. It was interesting to see how each member of this diverse group of siblings ended up faring on their own in a new timeline where they didn’t have each other to rely on.
These interesting writing choices for each character were backed up by incredible acting. The Umbrella Academy is truly an ensemble show, and every actor gives an outstanding performance. It is clear that these actors completely understand the depths of their characters’ trauma and understand their motivations as well as why they are the way they are. It is absolutely mesmerizing to see a group of people who seem so effortlessly in tune with their characters deliver exceptional, raw, emotionally honest performances with no one hogging the spotlight or standing out as weaker than the rest. While all the actors were incredible, I am continually amazed by young actor Aidan Gallagher’s portrayal of Five. Gallagher is tasked with portraying a man who is in his late 50s trapped in the body of a 15 year old, and he does it so convincingly that it’s simply unbelievable. The viewer completely forgets they are watching a child take on a role far beyond their level of life experience and becomes engrossed in the character.
Family matters
As I mentioned before, the siblings end up spread across the span of three years in Dallas, Texas. Thus, each character spends a significant amount of time alone rather than with the rest of the family. While this allows for great character development on an individual level, there is, as always, a trade-off
. Because so much time is spent with each character alone in their new, alternate timeline lives, the viewer sees much less of the family dynamic than they saw in the first season. This is rather disappointing, because so much of the original season’s appeal was the dysfunctional family dynamic that was new and fresh to the superhero genre. For about the first half of the season, we never see more than three of the siblings together at a time, and Five is almost always one of them, which gives less variety in these interactions. Fortunately, everyone eventually gets together again. However, while the parts of the show where the family is together have some really great moments of strong chemistry between actors and characters, overall, the dynamic between the siblings feels a bit generic compared to the first season.
Additionally, the fact that it takes about half the season just to get the family back together again messes with the pacing in a pretty significant way. Because so much of the season is focused on the characters’ individual 1960s lives before the family is reunited, it makes the oncoming apocalypse feel much less urgent, because the show itself doesn’t seem to be too focused on that problem, so it feels as though the viewer shouldn’t care as much.
Uniquely Umbrella Academy
One of the reasons the first season of The Umbrella Academy stood out so much was because it established its own identity as a show so clearly. It was unapologetically quirky and kooky, but was driven underneath the surface by characters with very real emotions and traumatic pasts. Fortunately, none of that amazing identity is lost in this new season. The show continues to blend emotional honesty and the complex long-term effects of family trauma with something fun and unique, and frankly, it’s incredible. The soundtrack is full of fun, upbeat tracks as well as 1960s throwbacks that set the scene for this new season. What other show could pull off putting “Rocket Fuel” by DJ Shadow and “My Way” by Frank Sinatra in the same episode? The show’s unique brand allows it to pull things off that other shows just can’t (like having one of the main bad guys be a fish in a tank wearing a suit. Does it make sense? No. Does it need to? No. It’s just fun.) The distinctive identity of the show is strong in this new season, and it elevates every moment to near perfection.
Featured Image: IMDb
Images: IMDb
(08/12/20 5:21pm)
by Arianna Sergio
One week and four studio sessions was all it took for Logic — with the help of producer No I.D. — to record his seventh and final studio album, No Pressure. The album was then edited, mixed, and mastered to perfection over the course of the year that followed. On July 16, 2020, Logic single-handedly broke the internet with the announcement of his retirement on Twitter and Instagram. He posted the album cover of No Pressure with the caption, “Officially announcing my retirement with the release of ‘No Pressure’ executive produced by No I.D. July 24th… It’s been a great decade. Now it’s time to be a great father.” This post shocked his fan base — also known as the Rattpack. Comments and tweets came flooding in with overwhelming support, sadness, and love.
After releasing his first mixtape Psychological in late 2009, the past 10 years of Logic’s career have been nothing short of incredible. He’s released six mixtapes and seven albums. No Pressure is Logic's best work to date. Logic hinted in the booklet of Everybody that his next album was going to be his final album, and it was going to be called Ultra 85. For the Logic fans that were expecting Ultra 85 and not No Pressure, Logic said on his Twitch stream, “A lot of people might say ‘Oh, Ultra 85,’ and da da da, this is Ultra f***ing 85. This is what that would’ve been… I put my heart and my soul into this. This is the one… When it comes to my die hard fans, this is for you.” No Pressure is paying homage to his first studio album Under Pressure and celebrating rap as a genre.
Not Living Behind a Persona Anymore
No Pressure is a full circle moment for the Maryland rapper. His first studio album — Under Pressure — tackled topics such as his violent childhood, the gangs in his neighborhood, his past cooking drugs, his battle with nicotine, his struggle with fame, and ultimately, the hardships of his life. The Under Pressure album cover features Logic, phone in hand, sitting with two friends in the basement of his friend Lenny/Big Lenbo — whom he used to live with and who helped him work on his career in music. In the picture, they are working on music, surrounded by some furniture, a couple computers, some works of art on the walls, and several other items. In the No Pressure album cover, Logic is seen alone underwater surrounded by all the items depicted in the Under Pressure album cover. It shows that Logic no longer has to worry about the struggles he once battled while trying to make a name for himself in the music industry. He’s free from the pressures of the rap game; he’s just floating and enjoying his life now. Portraying that on his final album cover is absolutely genius. No Pressure doesn’t focus on Logic or Bobby Tarantino or Young Sinatra or any of his personas. It focuses on himself, Bobby Hall, and it’s more transparent than any of his music before.
Blasts from the Past
“No Pressure Intro” features Thalia, Logic’s android narrator who was inspired by the hip hop group A Tribe Called Quest’s album Midnight Marauders, saying, “Welcome to the No Pressure Program.” Then, it goes into a chopped up version of filmmaker Orson Welles’ intro to the 1942 Suspense Radio Theater show “The Hitchhiker.” The intro of the song is diced up and pieced together with words, names, and phrases said by Logic, which is thoughtfully done in order to present the thematic elements of the album. It’s safe to say that every Logic fan can remember the first time they heard the song “Under Pressure” and the feeling they got when they heard it. “No Pressure Intro” offers listeners that same feeling. The newly euphoric, yet nostalgic, sound is a treat every single time you listen to it.
The sixth track on No Pressure is “Soul Food II.” “Soul Food II” is what Logic wanted the original “Soul Food” to sound like on Under Pressure; unfortunately, he couldn’t clear the licensing for the sample he wanted to use. “Soul Food II” is a more grown up and artistic version of “Soul Food,” with his genuine, authentic outlook on life over the slightly altered “Soul Food” beat which overall works in favor of making this song the best produced on the album. Logic is known for frequently referencing his other songs, which act as Easter eggs for his devoted fans. In “Soul Food II” he makes reference to — yep, you guessed it — 2014’s Under Pressure predecessor “Soul Food.” In “Soul Food” Logic raps, “Goddamn, goddamn, conversations with legends/Crazy how one day yo' idols can turn into your brethren” and in “Soul Food II” he raps, “Goddamn, goddamn, conversations with people/ Crazy how one day, the legends forget that they equal/ On this Under Pressure sequel.” In “Soul Food II” the word “legends” is replaced with “people.” This implies that he doesn’t praise the image of rappers he once idolized. In actuality, he calls them out and believes that many of them lose themselves within the world of fame.
The New Logic
When I first heard the piano in the song “Hit My Line,” my jaw literally dropped. This song is easily the front-runner of the album. It’s about Logic preaching to God about the worrisome, alarming, and troubling things he bears witness to in his everyday life; this is shown through his lyrics, “I'm just sayin', God, I need to talk” and “It's been a long time, God, can you hit my line?” Logic raps in “Hit My Line” in a happy and bubbly tone which can be attributed to the level of happiness he feels in his life recently. Rather than acting as a contrast to some of the dark subject matter the song entails, the upbeat tone is actually Logic accepting all of those things and knowing he will make it out okay. Throughout the song, he evokes previous life experiences while also speaking about his life since fame. “Hit My Line” has a captivating melody that immediately draws the listener in and holds them tightly until the four minutes and 25 seconds are over.
“Open Mic/Aquarius III” is about Logic’s rapping skills, family, and career. The lyrics, “Tryin' to be the greatest, that sh*t been dead/I'm trying to be the happiest that I can be instead/ I'm trying to get ahead like a fetus/ Money don't complete us, but it feed us, it can lead us to depression/ Being rich is not a blessing, fame is not a blessing” are part of a longer verse used on his single “OCD.” “OCD” didn’t make it to No Pressure, but implementing these lyrics still packs a punch that only his longtime fans will recognize. With Logic paying homage to Under Pressure on this album, "Aquarius III" uses the same sample that was used in the song “Under Pressure.” As noted previously, Logic is known for making references to his other songs, and in “Open Mic/Aquarius III” he references 2014’s “I’m Gone.” In “Open Mic/Aquarius III” he raps, “Living life like this is so crazy/Hip-hop is amazing/One day, you're on top and the next, they want to erase 'em/ Goddamn, what I'm facing,”and in “I’m Gone” he raps, “Living life like this is so crazy, this world is amazing/ One day you’re on top and the next she having your baby."
“DadBod” is another standout. Logic opens up about his current life: being a new dad and a loving husband while also cultivating his rap career. This new life he has created is a complete 180 from his extremely difficult upbringing that he used to rap about in his early career. Throughout the song, he jokes about people wanting him to revert back to the way he used to rap. It’s refreshing to hear the artist’s points of view on how his life has changed, especially considering how drastically it has changed. In “DadBod” he makes reference to “Upgrade,” which is from his sophomore album The Incredible True Story. In both “DadBod” and “Upgrade” Logic raps, “I've upgraded while they waited, will they love it, will they hate it?” This lyric is recurring in his music because Logic has essentially “upgraded” his life. He is a totally different man and artist than he was when he started rapping. He’s asking if his fans will love or hate the new him. “DadBod” is one of the most telling and raw songs on the album.
In “A2Z” Logic is teaching his son Little Bobby the alphabet. This is lyrically one of the most clever and witty songs Logic has ever released. The song begins with Logic asking his son, “You wanna learn your ABCs Little Bobby? Yeah? You wanna learn your ABCs? Yeah? Yeah, let's do it,” and then you can hear his son trying to formulate words to respond to him, but it comes out as babbling. Throughout the song, Logic raps the letter of the alphabet he is trying to teach his son as a lower pitched voice in the background repeats the letter. Having that voice in the background fuels the message Logic is simply trying to teach Little Bobby his ABCs. The second half of the song is Logic playing his demo from 2005. Incorporating his demo at the end adds to the song, because it shows how far his rap skills have developed and how vastly they have improved. Logic is playing as his most creative self with the concept of this song.
Open Topics
“Dark Place” is Logic’s most personal song to date. Logic discloses personal details about his mental health — specifically his depression and anxiety — discussing topics ranging from the amount of hate he receives online to inner struggles and worries that he may never climb over the pedestal his fans put his early music on. Overall, Logic confesses that sometimes people are sad, with no particular reason behind that sadness, and that’s okay.
“Obediently Yours” is the closing song on No Pressure. It goes into the July 28, 1946, episode of the “Orson Welles Commentaries.” Logic raps, “This is Logic” for the first line of the song and for the rest of the song this sample plays over a low piano melody. This episode is related to a black veteran, Issac Woodard Jr., who was blinded and abused by a white police officer. With the Black Lives Matter movement being so prevalent, prominent, and crucial within our world, the audio used in this song drives the message home that there is still an immense amount of work that needs to be done in order for each person to really be equal.
Top Tracks:
Hit My Line
DadBod
Soul Food II
Recommended if you like:
J. Cole
Kendrick Lamar
Mac Miller
Featured Image: Genius
Sources: Instagram, Twitter, YouTube
(08/06/20 6:00pm)
by Conner Tighe
This year has been full of surprises but nothing quite as crazy as the surprise release of Taylor Swift’s latest album Folklore. This is Swift’s eighth album, and it’s a great one for sure. Quarantine has been good to Swift, and she reveals her full potential once again with the follow-up to Lover — which was her greatest album to date. The cover art of Folklore is perfect with its ominous black and white forestry. There is nothing like an unexpected, album drop from one of the greatest female artists of our time, and album eight shows that surprises are worth waiting for. At last, the Swifties have been saved.
There is a grace and bravery that stems through this sad and grim album. With an echoed sound and lessons that only Swift could manage to convey through song, there is something here that Lover couldn’t offer. Folklore is more of a co-parent with Lover — not any better or worse — but simply touching on different topics of discussion proper for this sad summer of disease and unfortunate data. Folklore is a hero of our time, and it is doubtful that there will be anything like it for the rest of 2020.
The last hurrah for summer 2020
Folklore introduces a new side of Swift to her longtime fans. Her transition from country to pop was slow but worthwhile in her search for sound; now, album eight is introducing an alternative path for the singer. There is an indie appeal in many of her tracks like “The Last Great American Dynasty,” “The 1” and “August.” All create fresh sounds that Swift performs exceedingly well. The album is fantastic. It’s everything we need for this “cruel summer.” Speaking of cruel, there are some suggestions of hurt where the singer hints at the pain of breakups.
Swift has been happily dating actor Joe Alwyn, but Folklore might suggest that something has happened between the two. These lovebirds have been together for three years and have even been quarantining together — which is the new dating of 2020. It’s possible that Swift could be dwelling on past love affairs, but many guess the tracks like “Illicit Affairs” and “Mad Woman” have to do with her relationship with Alwyn. This is all speculation of course, but nothing is completely off the table — as we’ve seen in everything going on this year. Whether Swift and Alwyn are broken up or not, this album is a celebration of sadness and being together or apart during the year of COVID-19.
Folk in Folklore
Is it pop? Is it indie? Is it folk? Swift brings a variety of genres to her latest album. Light wispy echoes and harmonicas break up the pop appeal — which is unlike the singer’s usual sound — but its uniqueness is appreciated. There’s so much to dissect in this 16-track folktale. Secret messages and unfamiliar sounds are only pieces of the puzzle presented here; like the cover art, listeners will feel like they’re wandering through a forest of whispers and echoes of the past. It’s soothing to listen to. Swift is telling us that we aren’t alone in our fights within ourselves and with this year. We all have universal struggles and Swift shows she understands this.
Time for collaborations
Indie folk band Bon Iver lent its talent to track four, “Exile,” which is a wonderfully strong song. It’s a slow, melodic piece about relationship issues that everyone can relate to from their own lives. If nothing else, listeners should hear what “Exile” has to say as they, too, will become entranced in its beautiful message and sound. Rock band member Aaron Dessner from The National co-wrote 11 of the 16 tracks that are featured on Folklore. Swift has never had trouble connecting with others in the music business, and the singer once again demonstrates the possibilities that collaborations bring to the table.
Top Tracks:
Invisible String
Exile
August
Recommended if You Like:
Kelsea Ballerini
Selena Gomez
Ed Sheeran
Featured Image: Official Charts
(08/05/20 7:00pm)
by Conner Tighe
Neon Trees’ six-year break has paid off with the band releasing an innovative album full of quirky fun and frenzy that makes their sound unique. 2014’s Pop Psychology was a success, but album four shines with brighter passion. The Neon Trees have always captured that sense of youth and confusion as a young adult, much like Foster the People and The 1975. Many artists with a pop background discuss being young and unsure about life through their tracks, and Neon Trees are no different; however, they are doing better with differentiating themselves. Their new album I Can Feel You Forgetting Me is both a triumph for the quirky band and a blessing in this grim year we’ve all been living through. While Pop Psychology relied on simple pop physics and dance beats, this fourth album gives its listeners a new edge to the band’s sound with a familiar message of love and marauding life as we know it.
“New” best thing
Much of I Can Feel You Forgetting Me is upbeat with a sense of pride and accomplishment in who they are — no matter what the band is talking about. “New Best Friend” and “Nights” take a pop approach to hard lessons in life and feel exceptionally honest; their perseverance and youthful sound in a world full of mixed-up noise is tasteful. If music enthusiasts were to dig a little deeper into the songs, they might discover something amazing; not only listening to the lyrics but also processing them is important for understanding any album. “When the Night is Over” and “New Best Friend” will hype anyone up.
The band is not afraid to mix up their sound with tracks like “Mess Me Up” that address painful pasts, specifically evil exes. It’s safe to say we all have those toxic pieces of our pasts, and — like a puzzle — we come together again once we sort through the mess. Neon Trees produce a fresh sound which opens a gateway to fresh opportunities — for both the band and their listeners. We wanted something new from the band, and we got it.
Single and singing
The 10-track album mainly talks about being single and living with that as a tough learning experience. “Living Single” and “Going Through Something” touch base on this and separate themselves from the rest of the pack. These two are fast-paced and talk about living single and having fun. Society encourages us to always be searching for love rather than learning to be independent. Neon Trees counteract that statement to create an enjoyable and beautiful message in song.
People tend to appreciate something that goes against the norm, especially in the music industry. This album is what we all needed this year. This is not the time to be looking for love, but a chance to learn more about ourselves. COVID-19 is something that we never could have expected — but we’re adapting — and Neon Trees give us a prime example of that adaptation. I Can Feel You Forgetting Me is a strong album with a message of independence and a fun frenzy of emotions that many young people will find extremely relatable.
Skeletons of a past life
I Can Feel You Forgetting Me has shown the world that Neon Trees may have finally reached their full potential in sound and overall message. The album is invigorating and devoted fans can see pieces of past music etched into the songs with each track differing from the last. While six years may not seem like a long time, it has been a lifetime for this band’s sound and talent. New listeners need to follow-up their listen of this album with the band’s discography to see the journey Neon Trees has gone through, as there is a great deal of growth revealed. 2014 is long gone and 2020 has shown a lasting positive message from these musicians.
Hidden gem
There is plenty to enjoy in I Can Feel You Forgetting Me, but the true gem of this album comes right after track one. “Used to Like” is easily the best of the 10 tracks. It’s a fast-paced song that stays true to what Neon Trees are all about: total confusion and fun as young adults. Inspiration from old tracks like “Sleeping with a Friend” and “Animal” shine through six years later in this song. Neon Trees are shying away from what they once were, but they still aren’t afraid to hearken back to their roots through sound. This album is a definite upgrade.
Top Tracks:
Used to Like
Nights
New Best Friend
Recommended if you like:
Foster the People
The 1975
Walk the Moon
Featured Image: Vevo Songs
(08/05/20 7:00pm)
Throughout the history of cinema, there’s always been an obsession with attempting to recapture the past. Whether it’s films like Ben-Hur, All the President’s Men, or even movies that twist history like Inglorious Basterds, these movies often try to contextualize their stories as being more than just the “true” stories they’re based on in order to draw eyes. They sometimes claim accuracy despite drastically altering history in the name of entertainment. However, in a time when we are actively reckoning with our history, it begs the question: how do we channel our feelings about this history and how do we react to what has come before?