Top 10 Fit For A King Songs

By: James Southworth

I have been wanting to do another top 10 songs for a band for a couple months, but they can be time consuming. I only want to do them for bands that I am super passionate about. Fit For A King are definitely a group I absolutely love. Plus, they came out with "Dark Skies" very recently, so I find it fitting for my next list to be for them. This list was not easy to make, but here it is!

Honorable Mentions: "Shadows and Echoes", "Oblivion", "Hollow King (Sound of the End)", "Slave to Nothing", "A Greater Sense of Self", "Dead Memory", "Keep Me Alive", "Stacking Bodies", "Kill The Pain"

10. "Selfish Eyes" (Slave to Nothing)

There are so many metalcore bands out there who try to make ballads that are trying way too hard to be emotional. More often than not, these ballads come across more as a clear attempt for these bands to get some radio traction. This is far from the case with Fit For A King. While the band keeps their sound really intense for the most part, they do have a couple entirely clean vocal lead tracks (spoiler alert, you'll see another ballad in my top 10 eventually). I couldn't resist putting both of the ballads on this list. This song is just beautiful in every sense of the word. Clean vocalist Tuck O'Leary made his first appearance on the band's third album "Slave to Nothing", and man did he impress throughout the whole album. Giving him one song to sing by himself was a great decision, as he simply kills it on the vocals. The great guitar and drum work serves to accentuate the emotion of this track further. And oh man, the lyrics are something else. I'd debate that this song has some of the band's best lyrical moments to date. Tuck describes how materialistic greed ultimately adds up to nothing: "Do you love, when you're breaking at the seams?/Do you love, when you forget what it means?/Do you love, when you have nothing?". There is an understated poignancy to this track that makes it stand incredibly tall in FFAK's song roster as a whole. Even if you're not a big fan of metalcore, I feel like you need to take some time to listen to a this song.

9. "Identity" (Creation/Destruction)

Out of all the songs I'll be talking about on this list, I'd say this one is the most underrated. Whenever I see people talking about FFAK, hardly anyone ever talks about this track. I just have to ask why. There's something about this song that's incredibly unique in comparison to everything else in the band's discography. There's actually a little bit of piano that plays throughout this song, and the electronic effects are quite intriguing. Ryan Kirby lets loose some of his most impassioned screams on this song. The chorus is one of the band's best, because it is just so freaking catchy. Any time I hear this song, I can't get the chorus out of my head. It hooks you in and doesn't let go. Lyrically, the visual imagery in this song is intriguing and has a certain beautiful poetry that isn't typically present in the band's more intense tracks. This track has both Ryan and clean vocalist Aaron Kuvera asking whether their identity lies in their soul or the demons that surround them. Both feel like such a part of them that it's hard to distinguish between the two. The symbolism throughout this track makes it one of the most connecting songs on "Creation/Destruction", as I feel like there's some part of this song that almost every listener could relate to.

8. "Ancient Waters" (Descendants)

This the only song that is going to appear from FFAK's debut album. While I wouldn't call "Descendants" a weak album by any means, it still has content that just can't compare to the far more stellar material the band has put out ever since. However, a track like "Ancient Waters" was an early indicator of where this band was going to go in the future. Everything about this song embodies what the band is known for: intense guitar riffs, talented drum work, powerful screams from Ryan Kirby, a catchy chorus which effectively embodies the thematic arc of the whole song, and some headbanging breakdowns. If you want to know what FFAK sounds like, then this is a good song to start with. I wouldn't call it a particularly legendary track by the band, but I still have a great affection for it. It isn't even the song that got me into the band (that would be "Warpath"), but it is a track that I appreciate for showing evidence that the group has been full of talented individuals from the very beginning.

7. "Pissed Off" (Deathgrip)

"Every day is another war/We live and die in a hopeless world/Laying waste to the innocent/With no regret I'm sick of it". These are the lyrics that lay out the brutal, apocalyptic feeling that permeates the whole of "Deathgrip", which is easily the band's darkest album they've ever released. I'm not sure if the band could go much darker than this album, which tackles issues like genocide, abortion, war, and the loss of loved ones. There's a sense of hopelessness that is through a lot of the album. But not necessarily in "Pissed Off". This track is angry, and justly so, as the band goes after everyone for being culpable in letting our world go to ruin, and in effect, letting ourselves go to ruin. The band speaks a powerful truth in one moment of this song where they say "We're slaves to nothing but the blood on our hands". This one line aptly and hauntingly describes how we willfully enslave ourselves to sin. We choose to be slaves to the sin. But, Ryan Kirby doesn't say this is the endgame. In fact he says that we have to "end this terror". Musically, this track is one of the most intense songs that the band has ever done. The guitars explode throughout the whole song, and the drums are some of the most complex that Jared Easterling has ever done. And man, this song's ending is something else entirely. Ryan lets out this incredibly long, intense scream that has my jaw dropped every time I hear it. Brutal, angry, and furious: these are all the things I love the most about FFAK, and they're all part of this track.

6. "Skin and Bones" (Creation/Destruction)

Here is the other ballad from FFAK. While I love "Selfish Eyes" a lot, "Skin and Bones" is in a league of its own. As you probably know, this band is Christian and lets their faith shine through a lot of their tracks in incredible ways. But, the way they present their faith in this song is a little different. There's something quietly touching and powerful about it. The band asks the biggest and most complex questions of the Christian faith: "Is there a life beyond the grave?/Will I make the same mistakes day after day?/There must be a better way". The band does something even more bold in acknowledging that the answers to these questions will most likely be things that they ever know. Yet, they express a confidence that they will still see God face to face, but maybe not in the way that they will expect. "Creation/Destruction" is the only album with Aaron Kuvera on clean vocals. While I wouldn't say he's as good as Tuck, he still more than holds his own on this track. His performance is subtle and filled with emotion in every moment. This song also has a sort of indie rock vibe to it, something you won't see in any other song by this band. This track proves that the band has always been willing to innovate within the metalcore genre, even in their earliest days. This is one the band's most popular tracks, and there is a good reason for that.

5. "Break Away" (Slave to Nothing)

If "Pissed Off" is FFAK's angry call out to everyone to let go of their sins, "Break Away" is the far more optimistic and personal call to action. Instead of Ryan discussing about everyone collectively being responsible for the sings they commit, he is very honest about the sins that he has been enslaved to for his whole life. This song is, quite simply, a desperate cry out to God for him to deliver us from sin. I love the line "If we know that Hell wants my body/But Heaven wants my mind/How can I come to grip/With all the choices in my life". There's a chilling admittance in this line that so often we as Christians actively work against the changes that God's trying to implement in our minds through the actions we commit with our bodies. FFAK is committed to promoting accurate theology, and this song proves it. There is a desperation in this track, but there's also so much hope that permeates through, as Tuck encourages the listener that it's possible to let go of the sins that have held us captive for so long. Just to hone that point home, Ryan screams out "Serpent/Burn in hell". Ultimately, as long as we are putting up a fight, the enemy will remain in hell where they belong. This track has always stood out to me from the first time I heard it, so of course it was going to make my top 10!

4. "Deathgrip" (Deathgrip)

Since "Deathgrip" as a whole conceptually paints our world as an apocalyptic wasteland, it only makes sense that the title track would be depicting the apocalypse itself. The apocalypse here, however, is not on a world scale. It's a personal apocalypse, telling the story of a person who is burning on the inside from the knowledge of all the horrible things they've done. Something I've always appreciated about this song is how it sonically reflects the album artwork. The art work for this album is stark black and white. But those harsh colors are somewhat contradicted by a beautiful rose. This song puts the dichotomy of the rose's beauty against the brutality of the black and white reality. Tuck and Ryan interchange vocals, with Tuck's soothing cleans being directly contradicted by Ryan's intense screams. It makes the song work so well, as the character of the track has anger for the choices he has made, and he also has a sense of overwhelming sadness. The sadness is obviously represented by Tuck, while the anger is represented by Ryan. This is one of the band's most creative tracks, as it keeps interchanging between musical, vocal, and even lyrical intensity. This song is a masterpiece, pure and simple.

 3. "When Everything Means Nothing" (Dark Skies)

This song just came out, so the fact that it is already within my top 3 favorite FFAK songs speaks volumes to how good it is. The track is undeniably deserving of this spot, as it once again sees FFAK taking risks. This is the first song of theirs I've heard that combines strings, electronics, and guitars together in a wholly compelling way. This song also stylistically shifts between rock and metalcore. The chorus has an almost epic rock feel to it, and Ryan comes in at unexpectedly effective points to scream his heart out. I feel as though one of the biggest themes the band has always been interested in exploring is trying to find a sense of identity and belonging in a broken world. They have often done this idea on a more epic scale. Here, however, it is deeply personal, and I would say it's one of the band's most introspective and honest songs. This track's chorus is simply gorgeous and you can feel the emotion and passion coming from Tuck as he sings out "Yeah I was born in the rain". "Dark Skies" boasts some of FFAK's most interesting songs to date, but this song right here is sort of in a league of its own.

2. "The Lioness" (Creation/Destruction)

I had a really tough time choosing what would make the top of my list for this countdown. For a while I've considered this song my favorite FFAK song of all time. It's only after I've gone back to another of the band's songs a couple more times that I changed my mind. Still, just to let you know, my number two and number one are neck and neck with one another. Many of this band's completely unclean vocal tracks are considered dark and gritty. But this one takes the cake. In fact, I'd debate that it is the darkest song the band has ever penned. It needed to be dark, as Ryan Kirby depicts a personal testimony of how deep he fell into sin and how close he was to facing the darkest parts of Hell. This song could be considered a cautionary tale, one about how easy it can be to fall into darkness if we let our guard down. The lyrics describe this truth in a way that still sends cold chills up my spine: "I've seen the darkest things a man can see/These demons that once taunted/Have now become a part of me/And now my hope is gone/Pull at my limbs and drag me through the gates/Welcome to the abyss/A place that you created/A place you won't be missed". I had to put that whole line down for a reason. For one, it's one of the best lyrical moments the band has ever done. For two, Ryan Kirby gives a brutal, haunting vocal performance here that is unmatched. This is his best vocal performance to date, bar none. The fact that he was able to do a song like this on only the band's sophomore effort is impressive to say the least. If you like your metalcore music to be amped up to an absolutely intense volume, then this song is definitely for you. I can't emphasize enough how much I love it for how bold it is in comparison to so many other Christian acts.

1. "Young and Undeserving" (Slave to Nothing)

It's interesting for me to say that my number one pick has sort of been a slow burn grower on me. I've always considered "Slave to Nothing" as a whole album to be FFAK's undoubted magnum opus. But, at least in my earlier years of listening to this album, I would've put several tracks above "Young and Undeserving", including some of my now honorable mentions. Here we are, though, with this song at my top spot. And now, I absolutely adore it and think that this song is practically unmatched by any other of the band's songs (besides my number 2 pick of course). This song describes in heartbreaking detail a friend that Ryan lost far too young. The implication seems to be that this person was a generally happy and good person, and yet he died suddenly. The song never tells his cause of death, which I think works for the song. The focus more seems to be on Ryan questioning God's decision to take a good person at such a great time in their life: "Why won't you answer me?/Have you turned your face away?/Answer me/Is it heaven or hell where will he stay?/I'm done wondering where he went and how a good man lives to die". The lyrics of this song make me emotional every time I hear it, as Ryan's screams feel more raw and desperate than they usually do. The chorus only further cements the emotion, with Tuck making something that can only be described as one of the most gorgeous metalcore choruses I've ever heard. Questioning God is something that any Christian, and to an extent non-Christians, can relate to. There's an honesty in this track that, at its core, is simply human. Nothing more, nothing less. It's a man's desperate sadness about why someone so good left the world so soon. What a great track. It's more than deserving of my number one spot. Please, if you have the time, go listen to all these songs, and then go listen to the rest of Fit For A King's discography. You won't regret it!

Fit For A King "Dark Skies" Album Review

By: James Southworth
Rating: 4/5 Stars

In the metalcore scene, I've felt that things have become somewhat unoriginal and diluted. A lot of bands in this genre have even begun to turn away from the sound and go for a more accessible harder rock sound. Last year, there were only a couple of metalcore albums I found good (and one of them became my album of the year because of how original it was). Since their inception, Fit For A King have fit comfortably within this genre of music, and yet they've found ways to keep their sound interesting. I've enjoyed pretty much all of their albums (with the slight exception of their debut), and I consider "Slave to Nothing" to be one of the best modern metalcore albums out there.  While I wasn't as big on "Deathgrip" in 2016 as a whole, there were still many individual cuts ("Pissed Off", "Dead Memory", the title track), that had me interested to see where FFAK would go next. They've returned with new release "Dark Skies". This album sees the band promising some of their most heaviest as well as their most accessible material to date. Do they deliver? In short, the answer is a resounding yes.

The album opens on a pretty solid note with "Engraved". While it doesn't pack quite the effective throat punch like "Pissed Off" or "Warpath" did, it still works as an opener in context of this album. If there's one word I would use to describe "Dark Skies" as a whole, it would be "cinematic". The band really amps up their sound overall, having some bigger guitar riffs, huge drumming patterns, and somehow even more impassioned vocals from both unclean/sometimes clean vocalist Ryan Kirby and clean vocalist Tuck O'Leary. "Engraved" certainly fits the cinematic idea this album has going for it. There are even some electronic flourishes in this track that give the feeling you are watching a trailer for an epic sci-fi film. This song lyrically embodies the main theme throughout the album: that we are all divided in a dark time, and there may be a light at the end of the tunnel, if we're willing to see it. As the title implies, this album is rather dark, though I would not say it's nearly as dark as the brutally apocalyptic feel "Deathgrip" had. There is hope shown through the bleakness, which I really appreciated. After the opening track comes "The Price of Agony", which has to be one of the band's most catchiest songs to date, in terms of the chorus. This song sees the band going in a political direction, although they are not choosing sides. Instead, they address the big problem with our political divide: "Every day we're growing colder/Our divide is growing further and further/The hands of time are moving faster/When will we stop paying/The price of agony?". I think it's brave for a Christian band to be calling out both political parties for their culpability creating a divide. It's a convicting track which begs the listener to try and grow and learn. Kirby takes both unclean and clean vocals on this song, and he delivers on both fronts. The guitar riffs in this song are just excellent, and became instantly memorable upon first listen. I saw this song live, and let me tell you, it works in that type of setting. This track is powerful in that it can create a sense of unity in everyone's collective frustration with our current political landscape.

After this track, we get an absolute banger in "Backbreaker". If you aren't headbanging along to this track, then there is something wrong with you. The breakdown in this track is delightful. The chorus's hook is simplistic, but it's hard to not scream along to it the more you hear it. I love the beginning of this song in particular, as Ryan screams out "Light the match/Set my body ablaze...". Those lyrics are just so cool sounding to me. My jaw dropped to the floor upon hearing the ending to this song, where Ryan holds out a very high scream for at least 40 seconds or so. He beat his record in the already impressive "Pissed Off". I love that Ryan continues to push himself as a vocalist, as honestly he sounds better than ever on this album. "Anthem of the Defeated" is a track that I initially was unsure about, but it has grown on me immensely. The track has a bit of a nu-metal feel to it, and even a bit of Slipknot influence. Ryan's vocal style in this track is unlike anything I've heard from him before, which makes the song incredibly interesting. The drumming in this song is also excellent, and there's a guitar solo which puts a smile on my face every time I hear it. My favorite track on the album comes in "When Everything Means Nothing". We finally get to see Tuck shine on the clean vocals. He absolutely delivers here, offering an emotional, heartfelt performance that deserves recognition. This track has the band seemingly speaking in the perspective of another person who doesn't know who to be in the midst of living with a deep depression. "I try to smile, try to fight/Just say I'm okay/But every day feels like it's killing me/Yeah, I was born in the rain". That chorus seems so simple in its word choice, but something about it for me is poignantly haunting. That is in big part due to Tuck giving one of his best vocal performances I've heard from him, as well as the combination of strings and guitars. Yes, this song does have some subtle strings incorporated, and it works immensely. This is one of my favorite songs of the year.

The second half of this album goes a bit more experimental, and it yields mostly good results. If you think you're prepared for the brutality of "Shattered Glass", let me promise you that you are not. This song is pretty much breakdown after breakdown, and it's a delight. I sat in utter silence after hearing this song because of how blown away I was by it. I wouldn't be surprised if this song could shatter glass when it's played live. Kirby explodes on the vocals, sounding about as angry as I've ever heard him. This is easily the darkest moment of the album, so it's fitting that it's filled with some of of Ryan's lowest guttural screams as well as some of his highest shrieks. Honestly, for me this song is right up there with "The Lionness" and "Stacking Bodies" for some of the band's best intense songs. This track even has some deathcore influences, which only helps to make it that much more heavy and hard hitting. Most likely you'll be left breathless by the end of this track, but you don't get much of a break, because after this is probably the second most intense song on the album "Tower of Pain". Once again, this track is all screams (in fact, 4 of the 10 songs here are all screaming, which is the most on any FFAK album I'm pretty sure). This song is rather honest in talking about how hard it can be to face both emotional and physical pain. Ryan isn't even sure if he can do it, as the chorus is mostly questioning: "Will I rise, from the ashes we create/Will I fall, into oblivion?". This was the first song I heard from the album, and it is still one of my favorites. The ending track "Oblivion" is perhaps the most experimental track on the album. It incorporates electronics more heavily than most of the songs on the album, doesn't have a straight forward song structure, and even uses strings pretty heavily in its ending moments. But, I love all of those elements. After two exceptionally dark tracks, it's nice to see the album end out on a hopeful moment, with a broken man begging God for forgiveness: "Tell me I won't be forgotten/If just for a moment...". Once again, the lyrics aren't necessarily super complex, but their simplicity creates a moment that's understated in its beauty. Tuck once again shines in the chorus, as this song is probably the most beautiful moment in the album as a whole.

There are only a couple of tracks on this album that I'd call weak. No track here is bad or something that I'll skip over purposefully, but there are two moments here that don't stand as tall. "Debts of the Soul" starts off pretty intriguingly with an electronic beat and subdued vocals from Tuck. Honestly, I may have liked this song more if it wasn't for Ryan Kirby's unclean vocals coming in rather suddenly. It seemed like this song was attempting to be the lone soft, solemn moment on the album, but it turns into a bit same sounding as something like "Backbreaker" or "Tower of Pain" once the unclean vocals come in. I don't expect FFAK to do entirely soft tracks all that often. However, I'd still debate tracks like "Skin and Bones" and "Selfish Eyes" are some of their most interesting moments. I guess what I'm trying to say is I was left a little disappointed by "Debts of the Soul". "Youth/Division" is the weakest moment of the album, mainly due to its awkward production. I feel like both Ryan and Tuck's vocals were drowned under the guitars and drums. Also, I think the chorus is wanting to have this epic/anthemic feel to it, but it doesn't really work that well. The band can make epic tracks for sure, but for some reason it just didn't translate well in this track. This one comes across as more forgettable than anything. Another minor complaint is that I do wish there were a couple more tracks on this album. "Oblivion" was a great way to end the album, but I think a few more tracks could have been added in between to flesh out this release a bit more.

Even with some of the weaker points of this album taken into account, I like "Dark Skies" more than "Deathgrip". It will be interesting to see where this album will rank in FFAK's discography in the future. I feel it may even be able to surpass "Creation/Destruction" with more listens (it's too early to tell right now). While this album is not the band's best- of course, it's really hard to beat such a masterpiece like "Slave to Nothing"- I still was very happy with this album. There are so many awesome moments here, and I loved that FFAK embraced a more intense sound, as well as delved effectively into some experimentation. I can't see how fans could be disappointed by this album, as it is yet another excellent work for FFAK. "Dark Skies" continues to prove that the band will be a juggernaut in the metalcore industry for years to come. Check it out!

Favorite Songs: "When Everything Means Nothing", "Oblivion", "The Price of Agony", "Tower of Pain", "Shattered Glass", "Backbreaker"
Least Favorite Songs: "Youth/Division", "Debts of the Soul"

Jesus Culture "Living With a Fire" Album Review

By: James Southworth
Rating: 1/5 Stars

Just a little over a month ago, I wrote a commentary about the rise and fall of worship/CCM. It seemed a lot of people agreed with me, and the post even got more views than what I usually get (which I'm legitimately happy about, because I was proud of the work I did on it). It's sort of ironic that, only a couple of weeks later, Jesus Culture released a new album. I've criticized artists like Chris Tomlin and Hillsong Young and Free for adhering to the generic norms of "worship music". But, for all the criticisms I have for them, Jesus Culture is even worse. In fact, I would easily dub them as the worst worship band I've ever listened to. They come out with new music every single year, and pretty much no album sounds distinguishable from the other. Last year's album "Love Has a Name" was one of the worst releases I heard in 2017. I went into this album holding out a small modicum of hope that maybe, just maybe, JC had actually done something interesting with their sound for the new album "Living With a Fire". The album title sounded cool, and the cover was intriguingly minimalist.

Any small bits of hope I had were instantly shredded to pieces within the first couple of tracks on this album. I can't even write this review in my typical format (naming my favorite and least favorite songs in separate paragraphs), just because there's hardly anything to say about individual tracks on here. If I were to go track by track on this album, it would be like I was repeating myself. The redeemable moments in this release are very sparse. "Freedom" only works because it's the one moment on this album that feels driving and upbeat. Kim-Walker Smith actually has some passion in her vocals, and you can tell the live audience are enjoying themselves. "Yes and Amen" is a worship song I've heard many times before, but I guess JC's try at it works decently enough. "Beautiful Day" is probably the best song on the album, as the shortest one. It actually has a nice structure to it, and doesn't feel like it goes on for needlessly long. The guitars and drums even have a significant presence. But none of these "good" tracks can remotely equate for all the awful stuff that appears in this album. For one, this release is over 90 minutes long. There are only 14 tracks, so yes, that does unfortunately mean some of the songs are incredibly long-winded. Besides one 4-minute long track, the shortest amount of run time on a song here is 5:27. Many, many tracks hit the 6-7 minute mark, some are 8-9 minutes, and there is even one song that is 12. Freaking. Minutes. Long. If there were some actual content in these tracks, then the run times could be justified. But Jesus Culture is no Falling Up. It was often times torturous to listen to this album from front to back. The band repeats the choruses to the point where they all lose meaning. They try to make every song sound epic by building to an instrumental climax in pretty much every song. It becomes very old very quick.

The biggest problem this release has is that its worship feels forced, and sometimes borders on heresy. I was shocked at how many lyrics here seemed to relate to the prosperity gospel. Like I mentioned in my commentary on CCM, the problem I have with so much of worship is that the praise seems to be for what God can do for us, rather than what we can do for him. Just look at "Anointing" for one of the most uncomfortable examples of this. Vocalist Chris Quilala sings "Holy Spirit, come down/I need You now/In everything, I need Your anointing/Fill me, move in Your power". One could argue that these lyrics are an implicated prayer towards God. But to me, they feel more like a demand. Like we inherently deserve these things. The thing is, we don't deserve any of it. But the song never once acknowledges this. It feels oddly disillusioned, like everything God does is solely in context of only our collective relationships with him. This is a comfortable sentiment. What if God doesn't always reveal himself in the ways we want him to? It just feels selfish to me. Like so much of modern worship, it's clear to me that most of these songs are more trying to exude an emotion rather than pointing out truths about who God is. Now, one could argue that some of the Psalms are emotional rather than theological, but at least the Psalms felt like they were actively conversing with God. I just can't get past the whole concert vibe of this album, and the fact that the band attempts to bring emotion out by having extreme climactic moments within the musical department. It feels fabricated rather than legitimate. There are these moments where it seems like the vocalists are improvising what they're singing out loud. That's clearly what they're trying to get listeners to believe. But all of these "improvisational" moments still felt very planned. And more often than not, it felt like these times were more so for the vocalists to show off their vocal range. It just made me sick to my stomach, as it was so blatantly obvious to me.

Even more lacking than in the lyrical department is the musical variation. Like so much of CCM today, Jesus Culture infuses a huge electronic sound with some muted guitar work, piano, and drums. Pretty much every song plays out in similar ways. They start off as soft and simplistic with a piano playing. Then the vocalist comes in and sings the verses, the gets everyone in the audience to sing the chorus with them. Eventually the guitars and drums start to come in, and then after a few more over repetitions of the chorus, we get to the bridges. Most of the songs here have more than one bridge, and all the bridges are repeating essentially the same safe, happy go lucky sentiments about God. Finally there's this instrumental buildup and climax that is clearly manufactured to make the listener feel like something "spiritual" is happening. I'm not going to deny that music can take someone to a spiritual place. But when the same musical movements are done over and over again, it feels manipulative. It's like Jesus Culture is training their audience to when the buildup is happening, to say in their heads "Ok, now this is the time when we get truly spiritual, when God is actually in the room!". Worship should be, in part, an emotional experience. But when it's a type of experience that is done over and over again, it begins to ring false. The vocalists in this group are all very annoying in my opinion. So often, they're making unnecessary vocal improvisations, reaching vocal heights that most normal people will not be able to sing along to. Sometimes, in between verses, a vocalist will let out a little laugh. I couldn't help but cringe at this, as it once again feels forced, and part of the machine of a manufactured worship experience. Kim Walker-Smith is particularly fitting of this criteria, as she does some of the most obnoxious vocal improvisations I've ever heard. I will forever and always be ticked off by worship "leaders" who are more just trying to show how good of a singer they are versus actually leading a audience in worship. Even when the vocalists are showing off, none of them are particularly incredible singers. They feel as indistinguishable as any other worship super group.

This group's name feels unfitting to me. "Jesus Culture". Shouldn't a name like that imply that we as a collective Christian culture embrace all the truths about Jesus, even the ones that are harder for us to reconcile? This band says "no". Truths about Jesus can simply be drawn out in comfortable concepts. He is just vague and acceptable sentiments. He is more a feeling than he is a person. What a horrible way to approach talking about God. It's no wonder that so many from the outside and even within our belief system actively disdain mainstream Christian music. So much of worship is afraid to address anything that is remotely dangerous or risk taking. The only thing we like to talk about now is how God constantly brings good into our lives. What about grappling with loss? What about the times when God doesn't answer us in the way we expect? But no, that'd be too hard for a band like JC. I have given this band way too many chances. I am done with them. I don't really have anything against you if you listen to this group, but I just hope you listen to other things as well. Jesus Culture puts Christians in a bubble where they can stay within their easily digestible beliefs about God. This needs to stop.

Favorite Songs: "Beautiful Day", "Freedom"
Least Favorite Songs: "Anointed", "Defender", "How Amazing", "Center of Your Love", "Move", "Not Afraid"

"Searching" Movie Review

By: James Southworth
Rating: 4/5 Stars

It's not too surprising that a genre that has begun to gain traction is what I would dub "tech horror". This genre can be found in movies such as "Unfriended", "The Den", and "Selfie From Hell" (which, yes, is definitely as bad as the title sounds). These movies can be best compared to found footage, just done in a different way. These movies take place entirely behind a computer screen and on the Internet, instead of "real life". This is a cool idea, but all of these movies ran their entire premise on this one idea. They are basically gimmick movies. Even the best among them, "The Den", still relied on the idea that everything was behind a computer screen. The mere fact of this was what would make the movie automatically interesting (which, believe it or not, left plot and character development severely lacking for films like this). Director Aneesh Chaganty utilizes the tech horror genre, but instead turns it into a mystery/suspense film. In "Searching", David Kim's daughter Margot goes missing the night she tells her father that she's with a study group. In a desperate attempt to find her, David attempts to use the power of the Internet and social media, and the help of Detective Vick. But in the process, he begins to question how well he actually knew his daughter.

If there is one thing that I LOVED about "Searching", it's the fact that this movie doesn't use the idea that everything takes place behind computer screens as a gimmick. This part of the film does still make it unique in comparison to most films that have come out in 2018. This premise is what's bringing audiences into the theater. But, while I found this aspect of the film intriguing (and will certainly be discussing it in detail soon), that wasn't what made ultimately me invested while watching it. If anything, it was the fact that there is a real heart at the center of this film. The trailers for "Searching" had me prepared to go in for a white knuckled suspense ride as a father desperately tries to find his daughter. There's no denying that is a part of it. But, there's also a sort of framing narrative to this film. It didn't really need to be here, but the fact that it was proves to me that Chaganty was really passionate about making this film work on multiple levels. The beginning 5 minutes are actually some of its best moments. I don't want to spoil it to you entirely, but there is this montage of Margot growing up. The film uses a computer screen to tell her story from being born to the age she is in the present. This might sound like it shouldn't work; after all, many have made the argument that technology has begun to disconnect us. But, the way this montage is presented is so emotionally gripping. I was even tearing up a little by the end of the whole montage, which I was not at all prepared for going into this movie. And it's not like the movie abandons this little beginning plot thread throughout the rest of the film. While the remainder of the movie is more focused on David searching for his daughter, this plot point still plays a key role in defining a lot of the choices that both David and his daughter make. This film also pays attention to several consistent thematic arcs throughout the its run time: What makes a good parent? Is it one that constantly protects their child and is watching over them? Or is it one who gives their child a bit more freedom at the risk of them being in danger? Is it the parent's fault if they don't truly know their child? David struggles with all of these things throughout the film. It's quite interesting to watch him grapple with these thoughts. The film actually ends up coming to a definitive answer about parenthood, and it's really touching. This movie could've so easily taken a nihilistic route with its message about the relationships between parents and their children, but it doesn't. This was so refreshing to me in a time where a lot of films of the mystery/suspense genre often end things off on a hopeless note.

I obviously can't talk about this movie without discussing how it utilizes its technological core. Just to sort give this film a basis of comparison, I'll talk about "Unfriended" briefly. That movie had 4 characters together on a Skype call on their computers. They also typed in a group chat on their computers (the unknown killer also did this). The main character occasionally went through her pictures and emails. That was really about it for the film. It coasted by on the mere fact that its one unique quality was it taking place entirely behind a computer screen. "Searching" embraces technology in multiple forms. David talks to people through FaceTime, he texts his daughter through the computer, he looks up newspaper articles online, he looks at old family videos, he goes on social media websites. The variety of technology usage throughout this film is incredibly interesting on a visual level. It keeps the viewer on their toes, wondering how the technology will be used next. The film even makes the cool choice to go beyond the computer screen and transition to the TV screen, having news reels play. This adds an extra layer to the intrigue of the central mystery. The technology makes all of the threads of the central mystery feel initially confused to the viewer, as there are so many things to unpack. Chaganty expertly unfurls all these threads through the technology, and solves the mystery pretty cleanly by the end of the film. Though this movie shows how cool technology can be, it doesn't idealize it. There is some biting commentary about how people say they're one thing in real life, but act like a totally different person on the internet. Social media is shown to be a place where there's a fake sense of sincerity about things such as dealing with loss. People who try to be authentic on the internet, like Margot, will be easily targeted by those who abuse their internet privileges. There was one particular montage that had me laughing at loud at the ways it was critiquing our social media infused world. The commentary was so blackly comedic, and worked in an ingenious way. But for all this film's realism in addressing how dark a place the internet can be, it doesn't demonize technology either. Technology is how David is able to even have a chance to find his daughter. It's how he's able to store so many priceless memories of his daughter when she was younger. The film is very balanced in its commentary. It shows the internet for what it is. It criticizes those who use our social media world for their selfish gain, while celebrating those who use the internet to connect and find common ground with humanity.

The performances in this film are the points where this movie can falter a little bit. That is not the case, however, for John Cho as our protagonist David. If it wasn't for Cho's performance, this movie would have probably gotten a slightly lower rating from me, as the rest of the performances aren't as impressive. Cho shines throughout this whole movie. He brings plenty of likeability to his character. We're able to understand why he cares so much about finding his daughter. He shows how it goes beyond just them being related by blood. There's much more at stake. I just liked how real Cho felt. There was not a moment from him that rang false or felt inauthentic. He absorbs himself into the character of David and becomes him. In fact, I didn't realize until after watching the movie that this man was the same one who performed as Sulu in J.J. Abrams's "Star Trek" series. That's the level at which Cho delves into all of his performances. He is easily the best part of this movie, and it was constantly engaging to watch him. He shows the determinations, fears, and internal wounds that are all a part of David as he tries to find Margot. Sadly, the other performances in this film aren't as strong. I wouldn't call any of them awful by any means, but most just weren't memorable. Debra Messing gives a pretty comfortable performance as Detective Vick. This role felt a little too safe for me. She played this role like pretty much every other tough cop stereotype that you see in any number of police procedurals. Maybe it's because there is just such an excess of cop shows that I couldn't get invested in her performance. It's not like Messing is painful to watch or anything. Her performance didn't leave much of an impression for me, especially days after watching the film. Joseph Lee gives probably the weakest performance as David's brother Peter. The movie tried to bring out some of its comedic aspects through him. However, I felt like most of his punchlines didn't hit. They could elicit a mild chuckle at times, but more often they came across as awkward. I could actually see Lee giving a good performance with more time. There's definitely potential if he were to continue honing in on his comedic timing. Michelle La as Margot is a bit hit and miss in this film. There are definitely some moments with her that do work. Most of those moments are when she is interacting with David. It seemed like La and Cho had good chemistry whenever they were together. She had some decent moments by herself, but there were other moments when her turn just didn't work particularly well for me. Once again, I wouldn't call her performance bad by any means. It just isn't the type of performance that I'm going to think about in the future.

Even with some of the underwhelming performances, "Searching" is still overall an excellent film. This movie honestly surprised me. The film will keep you guessing with its twists and turns as the mystery unfolds. Even if you figure out the solution to the mystery before the end, there will still be some events that happen that you may not be expecting. John Cho's superb lead performance, compelling usage of technological elements, the surprising yet effective heart that drives the film, and the hard hitting thematic arcs all make this film more than worth watching. Believe the critical hype. This film deserves it, and may even end up as one of my favorites of the year (it should get an honorable mention at the very least). Please, go see it. I promise that you won't be disappointed!

Short Reviews #11

It's time for another segment of my shorter reviews! I've been seeing a lot of movies and listening to a lot of music, so it was hard to decide what to put in this segment. But still, here they are!

Movies
Christopher Robin
Rating: 4/5 Stars

As a whole, I have not enjoyed the Disney remakes. The best ones have been mediocre at best ("Jungle Book" only slightly rises above mediocre due to the good child lead performance and eye popping CGI) and the bad ones have been very painful ("Beauty and the Beast" has become one of my least favorite movies in recent memory. I was WAY too generous to it in my original review). So, I didn't put my hopes up too high for "Christopher Robin". But, I was relatively more optimistic towards it. I was happy to see Ewan McGregor getting a lead role, as I've always found him to be a charming and very underrated actor. Plus, the trailers seemed to not be trying to nostalgia bait (the same definitely couldn't be said for something like "Cinderella", whose trailer had several obvious visual callbacks to the original film). I decided that I did want to see this film, but I would go into it with low expectations. It turns out that my caution for this film was almost entirely unfounded. "Christopher Robin" is an excellent movie, and it's easily the best Disney remake to date. Director Marc Forster does an excellent job at recapturing the essence of Winnie the Pooh and friends, as well as Christopher himself. Something that surprised me about this film is that it's not really meant for children. Sure, children will have fun seeing a stuffed Pooh on screen. But the thematic through line of the need for us to regain a childlike sense of self in the face of the harsh world is not something kids are going to get. That doesn't mean all kids won't get this movie; in fact I'm sure some clever ones will see what the film is going for. I just appreciate that this movie isn't talking down to anyone. Ewan McGregor as the titular character is even better than I thought he would be. I loved following him; even in the midst of his flaws, McGregor made the audience entirely understand and sympathize with what his character was going through. It was a delight to hear Jim Cummings coming back to voice both Pooh and Tigger. I got emotional hearing both of their voices again, because they were such a big part of my childhood. Brad Garrett can often be gut-wrenchingly hilarious as Eeyore. He has some of the most memorable moments in the film. I think some might complain that Mark Gatiss is almost too over the top as the corrupt businessman Giles. However, I could tell that he was enjoying himself, and he makes for a cleverly satirical take on business CEOs. If there were any issues with this film, for me it might actually be the beginning montage scene that shows Christopher Robin growing up. I understand that the film would've been much too long if they had shown every part of him becoming an adult. But it all still felt a little quick. I feel like focusing on an event like him being involved in the war would've been good enough to show the audience how Robin lost his innocence. Also, there is a mid-point in this movie where things slow down maybe a little too much. But, that's not a big deal to me, as I like that this movie takes its time, much like Winnie the Pooh. I can't believe I'm recommending a Disney remake, but compared to the others, this one is in a tier of its own. You need to see this.
 
Unsane
Rating: 3.5/5 Stars

I appreciate that we are living in an age of horror where many directors are actually taking risks in the way they approach this genre. Steven Soderbergh definitely had something unique in mind with "Unsane"- he decided to film the movie entirely on the iPhone. It's crazy to think that a phone could actually have the same quality as professional cameras. And I will say this: you can tell that Soderbergh filmed with a phone. But this isn't necessarily a bad thing. In fact, it creates a unique, cramped atmosphere that works excellently for protagonist Sawyer's descent into "insanity". There are a lot of close up shots, weird angles, cramped spaces, etc. It works quite well. It doesn't ever feel like the camera quality is that of a phone, just that the camera has different capabilities. Having so much unique cinematography makes the horror in this film very much so a viscerally visual experience. It almost feels like found footage, and yet not found footage at the same time. The film boasts several great performances. Claire Foy is excellent as Sawyer. She puts on a surprisingly believable New York accent. She is British in real life, but there weren't really any points in this film where her actual accent prominently came out. I like how she subtly reveals the insecurities and fears this character has, and how Sawyer eventually uses those fears to her advantage. Foy plays her character as someone who is always intensely looking for a way out of her situation. There are many horror films out there where the main characters are passive in the situations they're placed into, but not her. I also enjoyed Jay Pharaoh as Nate. He brought some much needed comedic relief. However, I feel as though Josh Leonard as Sawyer's sexual abuser David is laughably bad in his performance. I didn't feel a whole lot of fear once his character actually began to talk (he was more frightening when he was just giving disconcerting looks towards Sawyer). I also think the ending of this film is just way too abrupt. It just sort of ends randomly. Still, there's interesting innovation and a great lead performance here, so that makes this movie worth at least one watch. Go check it out!

Revenge
Rating: 2/5 Stars

I've been very interested to see this film ever since it got rather significant critical acclaim. Critics have said that this movie puts a powerful feminist spin within the exploitation genre, and that the violence only served to make this film more enjoyable. I am very picky when it comes to watching  gore heavy films. I feel like the gore has to serve some sort of purpose. The first "Saw" is an example of a film that knew exactly how to utilize gore. This movie is not. It feels like it's being excessive just for the purpose of being excessive. Now, I won't deny that Matilda Lutz is really good in the lead role. She doesn't speak too much throughout the film, and yet you can feel the strength, power, and menace that slowly begins to overtake her. The three male performers are all a little too over the top for my taste, though. I get that they're all supposed to embody different forms of toxic masculinity. But this film doesn't really have a satirical edge to it, so them playing their characters so over the top doesn't feel fitting. This is especially true in comparison to the subtelty and nuance Lutz brings to the screen. The violence in this movie is just way too much. There are some moments in here that are unreasonably sickening, and feel like they're present just to be torture porn. Some of the violence in the film furthers the story, but most of it does not. It feels like too much is going on all the time. Director Coralie Fargeat is trying so many different ideas, and while I appreciate the riskiness in some of them, most of them don't hit. I generally don't like this movie, but maybe Fargeat will give us something better in the future.

Music
"Bloom" by Troye Sivan
Rating: 3.5/5 Stars

YouTuber turned mainstream music star Troye Sivan is back with his sophomore effort. I've only been mildly familiar of Troye as a Youtuber. I never watched his videos, but I know that he has a dedicated fan base that have certainly followed him into his music career. Not many YouTube careers become super successful, but Troye is one of the most significant examples of the opposite case. He's exploded into public conversation. He's also known for being outspokenly gay and an advocate for the LGBT community. These are both factors that influence a lot of his relationship-based tracks on "Bloom".  I have found myself being hooked on this release, especially with some individual tracks. "Seventeen" is the darkest yet most poignant moment in this album, as Troye is very honest about mistakes he made as a teenager. I like how he's warning his young fanbase to be careful to not make the same mistakes he did. Sivan's vocals throughout most of this album are really good, and they shine in this track. I also really enjoy lead single "My My My!", which is upbeat in a unique way. It doesn't have overbearing synth work; rather the electronic elements quietly meld together to make something that has a natural charm to it. I can see why this one has had such success on Billboard. My favorite track comes in "Dance To This", which I haven't been able to stop listening to. Sivan and Ariana Grande are great vocal matches for one another, as they have similar vocal styles. Their chemistry here creates a pretty much unmatched dance/pop masterpiece for 2018. This is easily my favorite pop song of the year so far, as the chorus refuses to get out of my head. I also enjoy the atmospheric cut "Animal", the heartbreaking "Postcard", and the rather beautiful cut "The Good Side". The second half of this release can suffer from being a bit too forgetful. While I wouldn't say any of the tracks on this album are bad, songs like "Plum", "What a Heavenly Way to Die", and "Lucky Strike" don't leave a lasting impression. Still, this is a great pop album, probably one of the best pop releases I've heard in 2018. I'd recommend it!

Favorite Songs: "Dance To This", "Seventeen", "My My My!", "Animal", "Postcard"
Least Favorite Songs: "Lucky Strike", "What a Heavenly Way to Die", "Plum"

"Neon" by Erra
Rating: 3.5/5 Stars

Whenever Erra announces that a new album is on the way, I'm always very excited. They are one of the most innovative and interesting bands within their genre. They could've very easily stuck with their sound on "Augment", as so many fans (including myself) thought they perfected their sound on that release. Much to the chagrin of many fans, the band went on to heavily experiment with "Drift". I actually liked the change, as it kept their unpredictability in tact. While that album wasn't as good as "Augment", it still had some of Erra's best individual songs on it. "Neon" is not a bad follow-up at all to "Drift", even if it isn't as strong. Erra keep some of the experimentation of the aforementioned release in tact, but also go somewhat back to their roots. This album opens excellently on "Breach", one of my favorite songs by Erra, and one of my favorite tracks of 2018. I got the biggest smile on my face when I heard Jesse Cash's iconic cleans, which as always, are pitch perfect. The guitar work in this song is so different for the band; in fact, this song is the most different sounding for Erra. The rest of the album is somewhat standard fare as it combines the sounds of "Drift" and "Augment", which is mostly not a bad thing. "Monolith" has become a quick fan favorite, and I can understand why. It has a raw intensity to it, and the chorus is criminally catchy. There's a great shredding guitar solo as well. "Signal Fire" and "Valhalla" should please fans who were wanting more of Erra's "White Noise" sound, as I feel both songs adhere back to that time. I particularly enjoy "Signal Fire" for some of its more rocking tendencies. The album ends out excellently with "Ultimata" and "Unify", two tracks that are epic in their own way ("Ultimata" in particular blew me away). As far as negatives go, the middle section of this album sees the band becoming a bit too comfortable with their sound. Lead single "Disarray" really went down for me in regards to my opinion of it. It's not a bad song, but it definitely doesn't pack the punch that something like "Luminesce" did. I also feel like "Ghost of Nothing" and "Hyperreality" don't do much to stand out. There is so much to enjoy on this album, though. Even when Erra are not at their strongest, they still crank out music that is better than a lot of their progressive metalcore peers.

Favorite Songs: "Breach", "Ultimata", "Monolith", "Signal Fire", "Valhalla"
Least Favorite Songs: "Disarray", "Ghost of Nothing", "Hyperreality"

"Kamikaze" by Eminem
Rating: 3/5 Stars

Well renowned rapper/emcee Eminem really saw himself falling from grace with the release of his album "Revival" last year. It was, for the most part, panned by critics and hated by his audience. I haven't been the biggest Eminem fan, but I have a respect for him. However, when I heard "Revival", my first reaction was "this is trash". I only listened through it two times, and haven't returned to it since. It would've made my worst albums of 2017 list if it hadn't been released so late in the year. Just last week, Em released the surprise album "Kamikaze", which is meant to be a sort of response to how people felt about "Revival". He also goes in on a lot of different modern-day rappers. There are certainly some good moments on this album. "Lucky You" is legitimately awesome. Featured rapper Joyner Lucas and Eminem both spit some absolutely ferocious bars over a great beat. Eminem raps incredibly fast in one section that just left my mouth hanging open. "The Ringer" and "Greatest" are both hype tracks as well, and they prove that Eminem is not going to be backing down any time soon. I don't always like it when rappers flex, but Eminem's confidence is so convincing that I can hardly fault him for doing so. "Normal" shows an honest side to Em that works. And "Kamikaze" is highly enjoyable, as Eminem pokes fun at himself. He even admits that "Revival" didn't turn out the way he wanted. There are some rather bad moments on here, though. "Not Alike" has Eminem replicating a beat from Blocboy JB. Just because he's parodying it doesn't make it any better. The song just comes across as annoying to listen to (although the MGK diss portion of the track is solid). "Stepping Stone" is a very half-hearted apology to Em's original rap group D12. Musically, it has a nearly insufferable hook. "Venom" is about as generic of a movie track as I've heard, so I guess it fits perfectly within the equally generic DC universe. "Nice Guy" and "Good Guy" both feel woefully misguided in their experimentation. The ending of this album is bad song after bad song. Overall, I feel like this release is sort of middling. Eminem does lay down some great raps, and there are moments of fleeting self-awareness. However, the lyrics often verge or trespass into cringe worthy territory. Some moments here don't work on any level. I'd check out the good moments of the album, but knowing my readers, you've probably already formulated your own thoughts on this release.

Favorite Songs: "Lucky You", "Greatest", "Normal", "Kamikaze"
Least Favorite Songs: "Venom", "Stepping Stone", "Nice Guy", "Good Guy"