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(03/05/21 9:30pm)
By Brandon Carson
King Gizzard and the Lizard Wizard are no strangers to making multiple albums within a year. In November 2020, the band released K.G., which served as volume 2 in their microtonal series. It offered new paths and directions for their sound and style with the Middle Eastern sounding “Ontology,” and the electro bop, “Intrasport,” but fell short in grabbing and keeping attention throughout the record. King Gizzard has always tried to push their boundaries: changing their sound on nearly every album and experimenting, making their 17th record L.W. look like a step backward. But over time, it proves to stand out on its own amongst the rest, while playing as the sequel to K.G. The band offers plenty of new routes to take their microtonal tuning and songwriting, and the lyrics are some of the best in their career. But some of the jams here can stale over time.
New microtonal paths
With Flying Microtonal Banana, King Gizzard introduced microtonal music to a more mainstream audience, colliding it with their psych-rock sound. K.G. returned to microtones over three years after Flying Microtonal Banana, and while some tracks felt completely original, others felt lackluster, beating around the bush until they ended. L.W., however, opens with something entirely original. “If Not Now, Then When?” picks up right where K.G. left off, flowing right into each other. But after the intro, the song completely changes to a jazzy, softer tone. It’s catchy, gripping, and entirely Gizzard. “Static Electricity” brings back the Middle Eastern influences and includes off-kilter, intricate verses that keep the listener's attention.
There are standout moments in each song, like the cathartic instrumental break in “O.N.E.,” the psyched-out jam at the end of “Supreme Ascendancy,” and the seamless transition from “Static Electricity” to “East West Link.” But the mother of all songs on L.W. is the eight-minute, microtonal doom metal track, “K.G.L.W.” It’s a continuation of K.G.’s opening track of the same name, but a journey culminating the double-album experience of K.G. and L.W. Each riff in the song feels essential and is produced with a raw, uncut sound. If the band were to make another metal album, this would be the way to go. The production on the record feels just as good as K.G. with dense tones and incredibly tight drums. But there are also fun synth melodies that come up from time to time and vocal chants in “O.N.E.” that add more depth to the song.
Eye-catching lyrics
One aspect that stood out on K.G. was the introspective and timely lyrics of environmental issues and the pandemic. L.W. finds similar themes of pessimistic world views of where the human race is headed, as well as political affairs and the environmental challenges our society has dealt with and the doomed future ahead, a King Gizzard staple. But the way they write has a quality unique to them, it's simple, but can be looked into deeper.
“Drink the blood of that you spill/underneath the whippoorwill/one more piece of Jenga to pull/then Necromancer will thank us all,”
Political themes can be found in “Supreme Ascendancy,” an angry take on how people who obtain power abuse it, using the Catholic Church as an example.
“Satan in a cassock casting black magic/Childhoods tragically ripped from their shaking feet/Conscious yet inadequate,”
Retracing old steps
Besides Flying Microtonal Banana, L.W. is their most consistent of the three microtonal volumes. Not jumping too far off the rails like K.G., but still managing to be adventurous in areas. However, a few tracks here do not hit the same highs as songs like “K.G.L.W.” and “Ataraxia,” while lyrically intricate, they fall short due to the quiet, confusing vocal performance from Joey Walker. Overall, the song has a Tool-inspired instrumental, but eventually meanders to nowhere during the end of the song, never finding a new direction. “See Me” introduces a hypnotic beat that resembles “Open Water” from Flying Microtonal Banana. But the longer the song goes, the more it drags on. The songs on L.W. could definitely be interchangeable with K.G., which is the point. However, when songs become forgettable, it begs the question, “Why wouldn’t they just put the best tracks from both records onto one album?”
Top tracks:
If Not Now, Then When?
K.G.L.W.
Static Electricity
Recommended if you like:
Thee Oh Sees
Tame Impala
Psychedelic Porn Crumpets
Sources: Metacritic
Featured Image: Genius
(02/14/21 11:00pm)
By Mason Kupiainen
Time-loop films aren’t anything new, with many films including Groundhog Day, Edge of Tomorrow, Happy Death Day, and Palm Springs taking new approaches to the formula. These stories have gotten pretty boring at this point since many other movies and episodes of television have taken a similar approach. However, The Map of Tiny Perfect Things is able to take a new look into this overused formula.
The film follows Mark, a 17-year-old who struggles to figure out what to do after high school. When he finds himself stuck in a time-loop, he decides to take the opportunity to find himself a girlfriend and soon discovers a girl named Margaret stuck in the time-loop as well, and the two quickly form a bond.
(02/13/21 5:00pm)
By Conner Tighe
2009 was a different time with the technology, style, and music. I never thought Taylor Swift would return to her country roots, which started her off in the music industry. Some of her best work took place with those Southern twangs and guitar plucks, but the artist decided to revamp her classic hit “Love Story,” which told a cringey yet fun tale of young love. Perhaps what Swift knows best is that our past never truly leaves us, and even the best of us need to come back to our beginnings sometimes. There’s more heart as she believed revamping the song would be a nice reminisce, and although it’s subtle, the artist’s voice is even different this time around, granted she was only 20 when the song released. Twelve years later, “Love Story” continues to dazzle fans who have stuck with the singer the whole way.
(02/13/21 3:00pm)
By Conner Tighe
German singer-songwriter Roosevelt delivered a pre-album release surprise on Friday, Feb. 12, before his release of POLYDANS later this month. His latest EP Lovers is another electrified generosity of pure genius-ness not unlike the artist. This synth-pop artistry comes after his release of Heart Marksman III a year ago. Although much of his music remains similar in its sound, save for a couple of rap beats here and there from tracks like “Crush, Pt. 13,” “Jupiter,” and “Admiration,” it’s difficult to find anything worth complaining about with the musician. Lovers continues that tradition.
Returning to electronic hypnosis
Nearly all the songs demonstrated on Lovers have already been released by previous albums and EPs except for the track named after the EP. When listening to the EP at firsthand, it feels tired and old, but Roosevelt knows what he’s doing and knows he’s skilled in this unique melody of notes. I find myself using Roosevelt as background noise easily able to block out everything around me as soon as I hear his strange echo-y voice with fast-paced disco appeal. So, in a sense Lovers is a “take it how you want” scenario but I see the cup half full.
Quality over quantity
Only five tracks take up the nearly 30 minute long listen through, but even first-time listeners should not be discouraged. Lovers is comical in a way as it feels the artist is toying with his fans, building up the anticipation for POLYDANS which will surely feature all-new tracks. It might be safe to say Lovers is a preview for what’s to come. Some of Roosevelt’s albums like 2016s Roosevelt features 12 tracks while his 2019 Young Romance (Deluxe) features a whopping 17. His EPs, much like this one, features only a handful or more on the playlist. Although his EPs don’t match up to his powerful album playlists, EPs like Lovers take fans back to what made Roosevelt so memorable in the first place, his unique sound.
Elephant in the EP
The only new track named after the EP is a happy, uplifting tune much like the other tracks he puts out. The track doesn’t stand out amongst his other tracks as it’s already difficult to do that. Roosevelt’s music is beautifully made but in a separate way than your average artist. Yes, most of his tracks sound similar but because he’s so enjoyable, it doesn’t matter because I feel like I’m listening to one giant Roosevelt run. If I were to listen to the track without reading the title, honestly, I would say I’ve heard it before. Again, it’s best to recognize this about him before diving in.
Recommended if you like:
Poolside
Martin Garrix
Tiësto
Top tracks:
Strangers
Feels Right
Sign
Feature image from: Genius
(02/12/21 9:00pm)
By Brandon Carson
The Foo Fighters have been a leading force in the mainstream rock scene for 25 years. They constantly play sold-out stadium shows, playing their biggest songs, and show no signs of slowing down. “Times Like These,” “The Pretender,” and “Everlong” are just a few of their countless hits that have dominated the radio. There has never been a terrible Foo Fighters album, although, they’ve come close. One by One and Concrete and Gold never reached the same highs that The Colour and the Shape or Wasting Light have especially with painfully drab songs like “Halo,” and “Sunday Rain.” Lately, the band has been on a streak of bland albums with no reason to come back to them. Unfortunately, Medicine at Midnight follows the same footsteps. Produced again by the acclaimed Greg Kurstin, the record is boring and unmemorable, with very few moments to keep the listener interested. All the while, the same old Foo Fighters tropes keep coming back: featuring slow beginnings leading to fast endings, big, catchy, and repetitive choruses, with basic, tired lyrics.
(02/10/21 12:00pm)
Voice students from the School of Music performed Saturday Feb. 6 at the Ball State Opera Gala in Sursa Performance Hall. The gala included performances from operas such as Les Huguenots, Love Never Dies, and State Fair. Compositions were from Mozart, Rodgers and Hammerstein, and Andrew Lloyd Webber. The gala was available as a livestream, with some segments recorded Friday, Feb. 5. The performers stood socially distant and wore masks throughout the performance to abide by COVID-19 protocols.
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(02/09/21 3:30pm)
By Conner Tighe
AJ Mitchell released his best collaboration to date over the weekend with Cheat Codes’ “Hate you + Love you.” Once again, listeners get an amazing sample of the artist and vocals, which he's demonstrated his entire career so far. Still, this time, listeners get a taste of something bittersweet, relatable, and honest from the singer. It's no secret that Mitchell is not afraid to express his feelings, both good and bad, through his music, ultimately to his benefit. Fans have been long awaiting his anticipated album Skyview, but with the recent release of “Hate You + Love You,” fans will just have to wait and see what he has in store. For now, the surprise release will suffice. The outline and overall format of “Hate You + Love You” is simple, easy, and honest.
(02/06/21 6:00pm)
By Conner Tighe
The Wonderlands seems to be moving in a new direction with their latest single, “The Push.” With a fast-paced, alternative sound and stylistic vocals, this superb single is the start to what may be a new sound moving away from the quiet life reflection that enveloped their debut album, This Digital Life. While mixing in hints of love troubles and self-reflection, their latest single is definitely worth the listen.
Pushing in a different direction
The band’s 2020 release, This Digital Life, was packed with emotional suspense overriding the familiar feeling of loneliness and confusion surrounding social interaction in today’s world. The album was impressive for a debut, and any listener can see genuine soul and heart was put into producing such a relatable piece of art. The same can be said for their latest single.
“The Push” further reassures that The Wonderlands are standing firm in their message. The message being today’s world doesn’t suit everyone. Especially those looking to break away from the norm and the humdrum of daily life that so many of us can get caught up in if we don’t stop to look around now and then. The single is a love ballad of sorts with witty remarks on what it means to be young and trying to sort through this messy world. The Wonderlands wants their listeners to dig deep in themselves and know what it means to feel what’s happening to them and this world.
Optimism with a strong head
Although much of the five-minute serenade is packed with fast rhythmic vocals and superb drumming skills, there’s an underlying tone of sadness transmitted over from This Digital Life to “The Push.” In a nutshell, life happens, and we’re the makers of where we go from there. The Wonderlands are spokespeople for young adults looking to find meaning in a world full of busy, droning voices that can take us on paths we wholeheartedly would’ve avoided otherwise. On the surface, “The Push” is no different from the other alternative songs of today. Underneath, however, lies a meaning like no other.
It’s clear the band is looking to move ahead, differentiating itself from This Digital Life, and is doing so in a beautiful way. There are temptations that may lead us to lose ourselves, but nothing is more tempting than the realities that we face in the name of love. “Playing it cool,” as lead singer Miles Jena refers, is a move all too common when things don’t go our way, but it’s possible to rise above it all.
Recommended if you like:
Mind the Goat
Luca and Julia
Thomas Newton
Featured Image: Instagram
(02/06/21 4:00pm)
By Brandon Carson
Unlike the title suggests, it has been five long years since Weezer has put out a solid record. 2016's Weezer (White Album) was the last album where the band seemed to find a spark of magic. It was chock-full of catchy hooks and riffs, quality lyrics, and consistency. “L.A. Girlz,” “King of the World,” and “Do You Wanna Get High?” are the key tracks of the album. Gone was the pop-music pandering of Make Believe and the all-over-the-place Weezer (Red Album). However, 2017's Pacific Daydream was the ultimate step back, with its predictable pop structures, corny lyrics, and overproduced sound. What followed Pacific Daydream was a streak of miss turns. In 2019, Weezer would release a cover album Weezer (Teal Album), and another self-titled release, Weezer (Black Album). The Teal Album was a gimmick that seemed to be built around their successful cover of “Africa” by Toto. But the Black Album was a bad sign. There was no direction, no vision, only catchy hooks, and unrealized ideas with a pop sound.
OK Human is the complete opposite.
OK Human proves to be an insane jump in quality. The flow is incredible, with the mood and tone staying clear and distinct. The production is vibrant and expansive. Most importantly, Weezer understands how to change their sound, while still staying true to it.
A new (yet familiar) direction
What Weezer has always done so well in their career, during both highs and lows, is have their own distinct style. It can be found on the Blue Album, where they broke into popularity, and even on the Black Album, where they sound like they’re trying to remain relevant. OK Human follows in the same footsteps; however, the instrumentation and production are completely different. In a 2019 interview with the Los Angeles Times, singer and front-man Rivers Cuomo stated that the strings were recorded at Abbey Road Studios. They brought back acclaimed producer of The White Album, Jake Sinclair, and stripped back their entire production, making no need for loops, click tracks, or even electric guitars.
In an interview with iNews, Cuomo said, “We weren’t worrying about commercial potential, which gave me the opportunity to just sing about whatever I was feeling in the moment and explore my anxieties.”
A near-flawless tracklist
It’s hard to talk about OK Human without discussing each song. They all flow together so well that they become pieces of a whole, rather than a collection of songs like The Black Album and Pacific Daydream.
Album opener, “All My Favorite Songs,” introduces the listener to these changes immediately. It’s even a little off-putting upon first listen, with seemingly cringy lyrics like
“All my favorite songs are slow and sad/ all my favorite people make me mad.”
But right as the drums kick in and the orchestra swells, it makes for a nice, short, and sweet track. From there, “Aloo Gobi” acts as a classic Weezer track. When broken down, the orchestra is playing what would be an electric guitar riff, and the hook sounds like something straight out of 2014s Everything Will Be Alright in the End. But these aspects working together, along with the classical-sounding bridge, make for a completely new and improved Weezer experience.
“Grapes of Wrath,” a song about getting lost in audio-books, keeps the quality up, in what’s sure to be an instant Weezer hit. But the true magic of their instrumental approach comes with the song, “Numbers.” All the elements come together beautifully here: the orchestra is moving, almost cinematic, and the drums are tight. Cuomo sounds sincere and passionate, making for a beautiful chorus. It’s easy to tell how much care went into the creation of this song and the album even. This is one of Weezer’s best songs in a LONG time. But OK Human has even more surprises. “Playing My Piano” sounds like it’s straight out of a musical but “Weezer-fied,” with even more gorgeous orchestrations and piano riffs. It leads right into the short but powerful, “Mirror Image,” which may have one of the best Weezer moments in the very end with Cuomo singing as if he’s improvising the lyrics, trying to get them right:
“Heaven can't save this man/Heaven can't help this man/Heaven, Heaven turned his back on this man/Heaven shuts the door on this man.”
“Bird with a Broken Wing” is another huge highlight. It’s the next ballad and a testament to how emotional the band can get. The song is about Cuomo feeling irrelevant and sorry for himself, leading to this great line from the bridge, “Nothin’ matters in the world and everyone is free, but I’ll belong to you, if you believe in me.” “Dead Roses” continues to amaze with its baroque instrumentation and interesting lyrics. “Everything Happens For A Reason,” a short instrumental interlude, provides an excellent transition from melancholy to joy near the end of the record. “Here Comes The Rain,” is one of those songs that is so catchy and positive, you can’t help but enjoy it. Finally leading to a fantastic ending in this triumph of an album, “La Brea Tar Pits.” The organ works well here, and there’s a callback to “Undone – The Sweater Song” in the end, suggesting that if fans don’t like this new direction, there’s always the classics. Also, it’s just a neat easter egg!
A few roadblocks
Cuomo can write raw, emotional lyrics that can touch the heart, but he has written lyrics that feel underdeveloped and fail to make any sense. “All My Favorite Songs,” falls into the “Underdeveloped” category in terms of lyrics. They aren’t terrible, but we have definitely heard Cuomo write stronger lyrics, even on the same album. “Here Comes the Rain” also includes questionable lines like,
“Splish, splish-splash/Woah-oh, woah-oh, taking a bath.”
However, the instrumentals and production make up for these weird lyrical choices.
“Screens” is the only song that didn’t resonate well on OK Human. It’s the most forgettable track of the bunch, and the technophobic nature of the song feels dated. It’s not a bad song, but coming after “Mirror Image” and the whole first half of the album, it’s easy to tell when a song isn’t up to snuff.
Top tracks:
Numbers
Bird with a Broken Wing
Grapes of Wrath
Recommended if you like:
Cake
Jimmy Eat World
Green Day
Sources: Los Angeles Times, iNews
Featured Image: Genius
(02/01/21 8:30pm)
By Mason Kupiainen
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
Being a passion project for writer and director John Hancock, The Little Things has been in development for almost 30 years. The first draft was written back in 1993 with Steven Spielberg originally interested in helming the project. He eventually left due to the story being “too dark” for him. Directors such as Clint Eastwood, Warren Beatty, and Danny Devito all circled the project at one point or another, with none of them attaching themselves to it. Now, finally, Hancock’s story is being brought both to the big and small screen, with the film playing in theaters and streaming on HBO Max at the same time.
The Little Things follows deputy sheriff Joe Deacon (Denzel Washington) and sergeant Jim Baxter (Rami Malek) as they try to solve a series of brutal murders. As they unravel the mystery, Deacon’s haunted by a past mistake that echoes their case.
Clues don’t matter
With an all-star cast, including three Academy Award winners, Washington, Malek, and Jared Leto, as well as notable directors like Spielberg and Eastwood all attached to direct at one point, it’s disappointing to see the film turn into an unsolvable mess. Washington and Malek give very hollow and dry performances to their weakly written characters. Their motivation is clearly shown in the movie, but their dialogue and actions are confusing and awkward at times. Surprisingly, Leto gives one of his best performances, with his character stealing every scene he’s in. An example of his brilliant performance comes from an interrogation scene between him and Baxter. This scene perfectly encapsulates his sick nature, while showing off the characters playfulness. Leto gives off an incredibly uncomfortable and unsettling vibe, while also having a likable and amusing nature. His character always has a quip and is perfectly written to the point that you never truly know what he will do next, or if he’s ever telling the truth.
Hollywood’s finest
Aside from the weak performances, the technical aspect doesn’t hold up either. A frustrating thing about big studio films is the easily avoidable mistakes. From the start of the movie, the editing felt off and jarring. Throughout the movie, many quick cuts and scenes are jumping from one to another without a smooth transition. There are also times when an actor’s expression dramatically changes, only to go back to their original expression seconds later. Having something this noticeable and awkward made the movie even more frustrating since it’s something that easily could’ve been avoided. The direction didn’t have anything remarkable about it either. It felt bland like the rest of the movie, and lacked any creativeness to it. None of the shots were rememberable or stood out as unique ways of telling the story.
A mystery without any mystery
With a script that was written back in 1993, you’d think that the story would have been locked solid, but it’s not. The movie opens with an attempted murder and kept the killer’s face hidden during the sequence. Whether it was intentional or not, there was a quick moment where we get a view of the man’s face that throws away any mystery as to who’s committing the murders. Also, Leto’s character, who’s the prime suspect of the whole movie, has a distinctive walk, to the point that the moment he’s shown on screen, you instantly know whether he is the killer or not. Since the movie tries to be an edge-of-your-seat thriller that wants to keep you constantly asking questions, the movie at the same time doesn’t give much to keep your interest. There are moments when the film does do a great job at creating suspense, but these moments are too quickly dissolved.
Most great serial killer murder mystery films have a message directly tied to the killer’s motivation. One of the best films of the genre, Se7ven, includes great messages revolving around the seven deadly sins, as well as the fall and corruption of man. The Little Things lacks having a clear and distinctive message that leaves it feeling lifeless. There are many Christian parallels to angels and allowing our past to haunt us, but neither of these felt like messages, but rather like themes. Lacking a moral message makes a film like this feel hollow and soulless, and leaves us only trying to solve the mystery. But if the movie lacks a compelling mystery and conclusion, that adds to the overall disappointment of the film.
Speaking of the ending, the climax of the movie is terrible. There isn’t a better way to describe the ending rather than terrible and unsatisfying. The ending echoes similarities to the climax of Se7en but without any of the payoff. How the movie decides to resolve the mystery isn’t necessarily a terrible way to end a film, however, in this instance, it was poorly executed. Many of the film’s mysteries are left unsolved by the time the credits roll, and it felt like an odd note on which to leave the movie. For viewers who pay extremely close attention to the subtle details planted throughout the film, they can try and piece together the mystery after the fact. However, with the evidence that the viewers are given, the movie will leave you frustrated since the clues all point to different outcomes. It could be that the filmmakers wanted audiences to feel irritated, just like how a detective who can’t solve a case may feel. But again, the execution of the film is handled too poorly to leave any effect on viewers.
Sources: Deadline, Collider, Oscars (Denzel Washington), Oscars, (Rami Malek), The Hollywood Reporter, The Metaplex
Images: Los Angeles Times, Cleveland, Vulture
Featured Image: Hypebeast
(01/24/21 8:49pm)
By Blake Chapman
Disclaimer: This review is for the Xbox One version of the game, conducted on an Xbox One X, and all gameplay images were captured in-game.
The Scott Pilgrim series of graphic novels are possibly the only books I have ever read that I resonate with on a truly vulnerable personal level. Nowadays, stories about indie darlings learning about maturity are a dime a dozen. Still, you will be hard-pressed to find a saga more timeless than the story of this 23-year-old loser bassist falling head over heels for the girl of his literal dreams. The dialogue and development shared between Scott, Ramona, Knives, Kim, and the rest of this incredible cast warms the reader up inside. Their human struggles extend beyond the backdrop of whimsical video game-style combat and a distinctive art style. Scott’s journey is one of personal accountability and responsibility, while Ramona’s is about self-acceptance and appreciation; it is a beautiful journey that I recommend to anyone on the cusp of adulthood.
I became a member of that fandom far before I ever entered my formative late teenage years. The movie adaptation’s electrifying action encouraged me to purchase the full box set of the original Bryan Lee O’Malley comics and I have been smitten ever since. Whenever I face a crossroads in my life, I revisit one or both of those projects and extract a new slice of wisdom about my path forward. There is one entry in the collection of Scott Pilgrim related content that I have not ever been able to fully indulge in: the video game.
Scott Pilgrim Vs. The World: The Game was a movie tie-in originally developed and published by Ubisoft in 2010. Since then, it has amassed a cult following, which only became more ravenous after the title was delisted from digital storefronts and became unavailable to purchase and even more difficult to play. After half a decade and in commemoration of the 10th anniversary of the film’s release, Ubisoft has put together a complete edition of the original game, including additional downloadable content. Scott Pilgrim: Complete Edition is a great piece of video game history, but below the surface, it is a disheartening experience built on nothing more than rose-colored nostalgia.
(01/20/21 7:10pm)
By Conner Tighe
Set in the 1980s, this coming-of-age story is told through the eyes of 15-year-old Libby Gallagher. Mannion captures how one action can have negative repercussions involving sexual harassment and attempted kidnapping. After Libby’s mother, Faye, gets into an intense argument with the youngest daughter, Ellen, she tells her to get out of the car, making her walk home in the dark. According to Origin, a large number of Americans believed as many as a million children were kidnapped in the 80s. By the time the 90s came, child abductions had become more widely speculated about in the media. This is what sets the mood for the overall book: The 320-page novel is shadowed by intense fear and anxiety after Ellen returns home disheveled and shaken up from an incident with a man only referred to as “Barbie man.”
Mannion takes readers into a small town located in Pennsylvania where Libby talks about the Manson house nearby. The Gallaghers seem to live in a wooded area with hills and a small town nearby where the siblings hang out off and on. The way Mannion writes the dialogue and describes the whereabouts of the town gives this eerie atmosphere where nothing feels 100 percent safe. Even when Libby is babysitting neighbor Ms. Boucher’s two sons, she can’t help but feel like she’s being watched.
There are more moments subtly hinting at sexual harassment involving minors beyond Ellen’s incident. The interesting bit is that Mannion never directly says what’s occurring but we, as the reader, understand. The overall theme of sexual harassment and its mental effects are explored well to the point where we understand the characters better because of their past. There are moments in the novel where Libby recalls memories with past friendships, one incident involving a friend’s father. When Ellen arrives at Ms. Boucher’s while her sister is babysitting, Libby changes to this protective role of Ellen because she understands what may have happened from previous experiences.
Much of the story is in the first-person point of view from Libby’s perspective, where we can follow what she thinks when she approaches people and processes events. Libby seems understandably put off by males in general, which shows how far the ripples from traumatic situations go. When Ellen, Libby, and Beatrice go to a restaurant in the mall, they see Barbie man sitting in the booth behind them. Much of the chapter focuses on Libby’s anxiety and fear by simply seeing the man. Mannion was able to capture genuine fear without using your average killer or monster because we know little about the man, but she created this power he has or had over these girls.
Libby seems to accept this past, for she seems more grief-stricken over her father’s death, who died years earlier. Her four other siblings seem unbothered by their father’s death, or at least not to the extreme of Libby. She seems to resent her mother and talks about her parents’ divorce and how her Irish immigrant father left for New York to find employment before his death.
Memories of her father come in and out throughout the novel, explaining current events. One memory particularly focuses on a hidden hideout where Libby and her friend Sage would meet known as “The Kingdom,” marked by a crooked tree. Their father commonly compared Irish culture to American culture, saying how Americans had no appreciation for nature. Her father said the crooked tree was twisted on purpose by the Native Americans who lived in the land previously. Libby recognized where “The Kingdom” was by spotting the crooked tree. Libby seems to latch onto dysfunctional aspects of her life because she’s coping, and the tree symbolizes her naivety and the youth she’s holding onto.
The overall childlike thought process in the book was carried through excellently. The Gallagher family is dysfunctional, to say the least, as the children seem to care for themselves as Faye is gone frequently, coming home to a mess of events. However, the character development focusing mainly on the children in the novel appeals to younger audiences as it’s written from a youth perspective. The relationship between the siblings is explored the most in this novel with sibling rivalry and Thomas, the only boy, trying to live up to his father’s legacy.
The romance breaks up the slow pacing at times with Wilson McVay’s introduction, a delinquent with a rough reputation, and Jack Griffith, with a classic “lover boy” appeal. Although Libby is resistant to McVay throughout much of the novel, the chemistry is undeniable, but it is disappointing to see it was only halfway explored, even toward the ending. However, there’s no male role model in the book until McVay comes into the picture, so it only made sense for him to stick around especially since he is a little twisted himself.
The characters carry this twisted summer story as it’s revealed early on that not one character is without secrets. Faye sneaks off to see Bill, a man she has begun seeing since her husband’s death, which Libby resents. Ms. Boucher is revealed to be having an affair with a married man, and McVay takes matters into his own hands when he learns of Ellen’s incident. The climax comes when Faye leaves to take Libby’s sister Beatrice to a summer camp in North Carolina, leaving the siblings alone. Barbie man returns, looking for McVay and seeking revenge after being beaten by him. Libby, believing the man to be coming for Ellen, goes ballistic when she can’t find her sister while at a Fourth of July celebration.
Some situations aren’t fully explained in the novel, like McVay’s abusive household, and Libby makes assumptions about him living a criminal lifestyle. Although when shocking events came in the novel, because of the lack of background—like with Ms. Boucher—they didn’t hit me as hard. By the end of the book, some aspects of the characters are left a mystery, which can be interesting if used correctly. However, here it’s a bit annoying.
(01/20/21 6:00am)
By Conner Tighe
Stylistically similar to U.S. artists, Ed Sheeran and Passenger, Icelandic artist Axel Flóvent’s latest album, You Stay by the Sea, takes on a slow, methodic journey of self-discovery and looking back at where one comes from with their roots. Every bit of the 12-track wonder has heart and fulfillment emanating from the artist who spent time traveling Europe pursuing something he believed he needed, his own musical scene. Flóvent wanted to make a name for himself, and after spending time near the sea in Brighton, he returned home. You Stay by the Sea is a beautiful calling to this relatable feeling of loneliness and longing for our home. The artist remembers being alone for much of his journey, and with the scenery he encountered, Flóvent’s expedition inward is a result of what’s happened outward around him.
Purpose of the sound
After a first listen through, there seems to be monotony and sad emphasis on dark undertones, like Taylor Swift’s Folklore and Evermore, but this is ignorant to say as a final verdict. Art requires attention and patience, and only patience will help capture Flóvent’s fantastic sound and ability as a young artist. You Stay by the Sea is the artist’s first album release after four EP releases, the last being released in 2020. Flóvent found fame after releasing his first EP Forest Fires in 2015. In terms of sound, You Stay by the Sea is nearly identical, but in meaning, completely different. Self-discovery is not a new work of art in the music industry, but one that can be spun in unique ways, and Flóvent accomplishes a unique angle on how his home holds something dear to him.
Folk and guitar playing establish their dominance in this album, with the artist’s beautiful vocals echoing melancholy. “Tonight” breaks itself off from the rest of the tracklist as it centers around Flóvent’s message of homesickness and the importance of living by the sea. The song is deep and beautiful in its sound, with the vocals silently echoing the truths Flóvent is feeling in the moment. You Stay by the Sea is more of a personal note to the world about his journey in Europe rather than another pop ballad of love and heartbreak like much of the music today.
"And you stay by the sea/It keeps you calm and quiet/'Cause there's no other way/Your heart still wants this fire"
Haunting aesthetic
The artist’s sound is no doubt an acquired taste. Only those familiar with Flóvent’s work and style will understand how much this album means to him. Tracks “Driving Hours,” “Haunted,” and “Fireworks” give the album this slow, methodical rhythm, but the path is broken up by faster tracks “December Traffic” and “Indefinite.” All the tracks are beautifully poetic, but some cannot take away from the overall leisurely pace that can drag on at times.
"But we should dive into the light/I know it’s right to feel both sides"
Top tracks:
Tonight
Driving Hours
Indefinite
Recommended if you like:
Ed Sheeran
Taylor Swift
Passenger
Feature Image: Genius
Sources: Byte
(12/29/20 3:00pm)
By Mason Kupiainen
WARNING: CONTAINS SPOILERS FOR 'WONDER WOMAN 1984'
After many delays, Warner Brothers released Wonder Woman 1984. Originally scheduled for a December 2019 release, it was moved up to November 2019 before being pushed back to June 2020. Once the pandemic hit, the film was bumped to August 14, then moved yet again to October 2 until it finally was released on December 25. What makes this release interesting is that not only is the movie being shown in theaters, but it’s available for streaming on HBO Max at the same time.
Although the original Wonder Woman was praised by critics and audiences alike, the film was a disappointment. Gal Gadot did a great job bringing a heroic and likable side to the character, but she struggled to carry out some of the emotional scenes of the film. The villain Ares was a weak and uninteresting character, and the film overall was slow.
Wonder Woman 1984 follows Diana living a quiet life in the 80s working as a curator for ancient artifacts. She comes across a mysterious stone that grants people wishes, leading villainous character Maxwell Lord wanting to consume its power.
A new decade
Wonder Woman 1984 improves upon the original in many ways, including Gadot’s performance. Gadot brought an emotional side to Diana that was absent in previous films while maintaining the strong and likable side she brought in previous films. Wonder Woman got an updated costume that better represents the comics. The original costume was darker and duller, while this one was much brighter.
The sequel also improves by having a better villain over the original. Lord was an interesting villain for a comic book film, as he lacked being a physical threat, but rather causes Diana to suffer emotionally. His arc involves Trevor, leading Diana having to make tough choices. The movie spends enough time with him, allowing us to understand his motivations and thereby making audiences want him to do better, rather than seeing him get taken down by Wonder Woman. Without getting into spoilers, his character poses a threat to Diana as his actions cause a strain in her relationship with Steve Trevor, who is brought back from the dead for this film. Similar to Diana, Lord’s character has an emotional aspect that actually works, unlike other superhero villains.
The film is filled with great action sequences. The scenes are well-choreographed and utilize Wonder Woman’s powers well, such as the car chase scene that’s shown in the trailers. There’s also an opening fight scene in a mall that has many nice moments. Fans of the comics will likely enjoy the references to the comics, including the invisible jet. In the climax of the film, Wonder Woman dawns a new costume, one that looks like the one she wears in the graphic novel, Kingdom Come. These references never felt forced as the plot sets up these elements well. The plot revolving around a magic stone could also come off as strange, but the movie is able to bring emotional weight to the plot so it never comes off cheesy. A magic rock shouldn’t be seen as strange in a film that includes a magic lasso forcing people to tell the truth.
The 80s were a strange time
Almost all of the issues of the film revolve around the character Barbara. The character turns into the villain Cheetah, but the transformation into the supervillain was rough. Throughout the three acts of the film, Barbara goes through drastic changes without a great set up. The character feels similar to other villains, such as The Amazing Spider-Man 2’s Electro and Batman Forever’s Riddler. The portrayal of the characters didn’t work in those films, and it doesn’t work in this one either. Her motivation isn’t as strong as Diana’s or Lord’s and is hardly developed. Her character simply felt like she was only included in the film to be a physical threat to Diana since Lord lacked in that area. If you remove her character from the movie, it wouldn’t have affected the plot at all, it would have left a big CGI final battle.
Oddly enough, once Barbara transforms into Cheetah, the CGI is bad. The scene takes place at night and felt like it was done intentionally to try to hide the poor graphics. Since the character is set up poorly, the final battle between Cheetah and Wonder Woman feels hollow since there isn’t any emotional weight. It truly felt like the filmmakers thought a superhero film couldn’t work without a final battle, so they threw this together. It would have been nice to have had a more subtle ending, with all the conflict strictly emotional between Diana and Lord. With every other superhero movie filled with over-the-top battles, such as Spider-Man Far From Home, Aquaman, and Shazam, a more subdued ending would have made this film stand out from all others. The film is more than two and a half hours long, so cutting out the Cheetah fight scene would have allowed for a tighter, faster-moving movie.
Sources: Rotten Tomatoes, Variety, Deadline
Featured Image: IMDb
Images: Syfy Wire, Gadgets 360
(12/24/20 10:30pm)
By Blake Chapman
Disclaimer: This review is of the Xbox One version of the game and was conducted on an Xbox One X.
Telling a good love story has become something of a lost art form. Gone are the days of Jane Austen. Now we find ourselves locked in an era of cheaply produced rom-coms and erotic romance novels written by authors with a 4th-grade reading level. Any legitimate attempt at recapturing that magic is most often met with staunch criticism by an ignorant general audience and is lost to a realm of cultural insignificance even with multiple awards to call its own. No matter the medium of storytelling, it is futile for even the largest of studios to try and reinvent such a wheel, but it is not impossible.
The latest project from French indie game studio The Game Bakers, famous for 2016’s action shoot ‘em up Furi, takes on that incredible challenge in a year already rife with emotional distress. Not only does Haven blow all other attempts at depicting a healthy fictional relationship out of the water, but it is one of the most wholesome video games of the year.
(12/22/20 6:59pm)
By Anthony Herring
WARNING: CONTAINS SPOILERS FOR ‘THE MANDALORIAN’ SEASON 2
On Nov. 12, 2019, Disney unleashed its streaming service, Disney+, into the world. Out of all the touted original content for the platform, one was widely anticipated: The Mandalorian. Created by Jon Favreau, who started the Marvel Cinematic Universe with Iron Man, the series followed the titular Mandalorian (played by Pedro Pascal), who operated as a bounty hunter five years after the events of Return of the Jedi. During the show’s first season, the Mandalorian--whose real name is Din Djarin (pronounced “jar-en”)--found himself protecting the Child, a baby that was being hunted by an Imperial Moff named Gideon (played by Giancarlo Esposito).
As The Mandalorian progressed, the show became insanely popular. Many viewers were enthralled by the everyday escapades of Djarin and the Child, who was given the nickname “Baby Yoda” since he was of the same species as Master Yoda. Others also compared it far favorably to the then-concluding Star Wars sequel trilogy, widely considered a mixed bag by the fandom.
The show’s first season ended with Djarin managing to escape from Gideon and his forces, with his new mission being to bring Baby Yoda--whose real name is revealed to be Grogu in “Chapter 13: The Jedi”--to, well, the Jedi. However, this would prove to be difficult, as the Jedi were practically extinct around this time. Thankfully, the second season of the show, which began on Oct. 30 and ended on Dec. 18, provided a thrilling and emotionally satisfying outcome for the Mandalorian’s quest.
Din and Grogu’s bogus journey
The second season begins with Djarin looking for other Mandalorians in the hopes they can lead him and Grogu to any surviving Jedi. Their mission first takes them to the planet Tatooine. There, they meet Cobb Vanth (played by Timothy Olyphant), a marshal of a small settlement called Freetown, who wears Mandalorian armor that he stole. Djarin, who wants the armor from Vanth, helps him stop a monster called a Krayt Dragon from destroying Freetown.
After leaving Tatooine, Djarin and Grogu are whisked throughout the Outer Rim, meeting many characters that eventually lead them to the Jedi. Fortunately, these additions never detracted from the heart of the show, which is the relationship between Djarin and Grogu. Due to the perils of their adventure, Djarin’s growing love for his newfound son is constantly tested. For instance, in “Chapter 16: The Rescue” (the season finale), Djarin gives Grogu away so he can finally be trained as a Jedi. At this moment, he removes his helmet--which is against his code of honor--so Grogu can finally see his face. It’s a stirring and powerful moment, illustrating how much he has grown as a father-figure, with Pascal’s performance giving him that much more humanity.
Boy meets world
Returning characters from last season appear during Djarin and Grogu’s journey, like Greef Karga (played by Carl Weathers) and Cara Dune (played by Gina Carano). However, due to season two’s larger scale, The Mandalorian includes characters previously introduced in other Star Wars media, such as Star Wars: The Clone Wars and Star Wars Rebels. One such character is Bo-Katan Kryze (pronounced “kreeze”), who is played by Katee Sackoff (who voiced her in The Clone Wars and Rebels). She first appears in “Chapter 11: The Heiress” and again in “The Rescue.”
Kryze’s inclusion in the show is a welcome one, as Sackoff does a great job with the character’s steely determination and stern attitude. This provides a compelling contrast with Djarin, as his demeanor is that of a man who is wrestling with forces that he doesn’t fully understand. Interestingly enough, Kryze’s storyline both ties into the threat of Moff Gideon (who also returns from season one) and provides some scintillating hints for the show’s future.
Another character that leaves her mark on The Mandalorian is former Jedi Ahsoka Tano, who is played by Rosario Dawson. (Ashley Eckstein previously voiced the character in The Clone Wars and Rebels). Ahsoka’s only appearance is in “Chapter 13: The Jedi,” where she reveals that Grogu survived Anakin Skywalker’s attack on the Jedi Temple (as depicted in Revenge of the Sith). Dawson did a decent job with her portrayal, giving viewers a matured and subdued version of the character. However, it was rather jarring having someone else play the character when Eckstein spent a decade doing so.
Post-Endor paracosm
With The Mandalorian set within the 30-year gap between Return of the Jedi and The Force Awakens, it was important for the show to provide details about this era of Star Wars. The first season gave details by revealing Gideon was leading a sizable military force of Imperial troops. This was surprising, as the Empire was not in power at this point, having been defeated by the New Republic four years before the show. Fortunately, this season doubles down, showing that Gideon also controls a laboratory and several starships.
Despite all of that, his most mysterious item is the Darksaber, an ancient Mandalorian weapon that Kryze is hunting him down for. Their rivalry brings greater depth to Gideon’s foothold in the galaxy, demonstrating how his actions have affected other characters. What makes this even more complicated is Djarin, who won the Darksaber from Gideon in “The Rescue”, and is now the rightful owner of the weapon. Such a development illustrates how obsessed Kryze is with getting the Darksaber, due to her refusing to take it from Djarin as she wants to win it during combat. Unfortunately, this plotline isn’t resolved; surely, season three will recognize this and make it the central conflict.
Lastly, the criminal underworld--one of season one’s main selling points--is also given more context on its place during this era. Fan-favorite character Boba Fett (played by Temuera Morrison, who also played Jango Fett in the prequel trilogy) returns, where it’s explained that he survived his “death” in Return of the Jedi. He ends up helping Djarin protect Grogu, and when that mission is over, soon takes control of Jabba the Hutt’s palace on Tatooine with Fennec Shand (played by Ming-Na Wen, another veteran from season one). The decision to include Fett in the season was worthwhile since he was a competent and fearsome bounty hunter--something the original trilogy failed to capture. With him and Shand now soon-to-be crime lords, the future has grown all the more exciting, and we only have to wait till next year to see how it all unfolds.
Sources: Entertainment Weekly, Observer
Featured Image: IMDB
Images: Syfy Wire, Meaww, Newsweek
(11/29/20 3:00pm)
(11/21/20 5:00pm)
(11/17/20 10:00pm)
By Conner Tighe
It’s been the year of EPs, it seems, and for queer pop singer Gregory Dillon, Sad Magic musters what is still left of 2020 and shoots through with his inner Brendon Urie inspiration. This five-track wonder is nothing short of your average pop appeal in every sense of the word. When Dillon’s vocals come through, one can’t help but feel Urie and Fitz and the Tantrums dancing in their heads. Sad Magic, with its upbeat dance aesthetic, although unique to Dillon, falls short in handling its own individuality.
Tapping into inner demons
There’s no doubt sensualness shines through every track, and Dillon does this well while talking about love in his world. “Sunset” channels Dillon’s inner queer, and he speaks to his love comparing him to a “sunset.” Very clever, Dillon. Sunsets have long been considered one of the most beautiful sights both in the photography world and the art world to which the singer is no stranger to.
Dillon’s Instagram account expresses the singer’s persona and who he is as an artist and person in the LGBTQ community. He gives off a dreamy vibe in all his media representations, and along with this album, he does so but does an excellent job of talking about hurt in his past. “Screenshots” and “Sad Magic,” for example, introduces Dillon’s mission to go on with his life not looking back but instead looking ahead to what could be a bright future for his “dying flame.” Many men in the LGBTQ community can relate to struggling with their identities and finding love as a gay, queer, bi, or trans man. Dillon taps into something as profound as queer love through his vocals, which don’t disappoint.
Feeling you everywhere
There is no doubt moving on from someone close to your heart is difficult. Dillon’s references of withstanding pain from someone the listener doesn’t know themselves are mysterious but relatable at the same time. Listeners can feel the transition of Dillon’s feelings from track one to the ending of track five. Love is mysterious and works in mysterious ways, both physically and internally. The singer doesn’t understand the reason for his pain and continues to long for his love but sees hope and light at the end of the tunnel. Dillon feels his pain everywhere he goes as if a ghost haunts his every move. It’s nearly impossible to forget the past, but Dillon transcends through five tracks from someone who’s been the victim to the victor.
Mind magic
Although Sad Magic is a straightforward journey of Dillon’s love life, there’s also a hypothetical sense of accomplishment regarding what he’s been through. The singer’s vocals are dreamy and, to me, sound like Panic at the Disco’s Brendon Urie. Vocals, aesthetics, and storytelling accomplish a “mind magic” that plays with the listener’s heads. Dillon finds himself unable to separate his EP from other pieces of music in the pop industry. Sad Magic is fun with its upbeat rhythms and catchy lyrics,
“Stop, hold off, I can’t go back. Oh, the sky is burning fast. Call your name. I watch you turn into the sunset.”
Top tracks:
Sad Magic
Lovely.
Sunset
Recommended if you like:
Panic at the Disco
Fitz and the Tantrums
Troye Sivan
Sources: Instagram
(10/27/20 12:00pm)
Postponed from April of 2020 because of the COVID-19 pandemic, "A Modern Dance" finally premiered on Oct. 22 in the Korsgaard Dance Studio in Ball Gymnasium. Ball State dance students performed a series of modern-style dances in the show, which ran from Oct. 22 to Oct. 24. Department of Theatre and Dance faculty members Audra Sokol and Melanie Swihart choreographed the show, and took inspiration from current politics and modern styles of dance.
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