Wage War "Pressure" Album Review

By: James Southworth
Rating: 2.5/5 Stars

I still remember the reaction I had when I first heard Wage War's lead single "Twenty One". I was absolutely blown away. It sounded like metalcore from the 2000s had come back to life in a refreshing new way. That was the reaction of many other people as well, which is why the band's debut album "Blueprints" exploded onto the scene, and deservedly so. The album was great, and had jam after jam on it. It also wasn't without some thoughtful lyrical content, such as "Youngblood"'s honest discussion about suicide. In my opinion, the band really showed what they were capable of in full on their sophomore effort "Deadweight". This album honed in their sound and made it more intense, but also more catchy. It also had a powerful arc of finding one's identity in dark times. I really like almost every track on the album, and even the one slight negative ("Indestructible") isn't awful. So, I was excited to see what Wage War would deliver on their newest album, even if I didn't feel that the two singles, "Low" and "Who I Am", were necessarily their top tier material. So what do we get on "Pressure"? Well... let's talk about it.

The opening track is also the second single, "Who I Am". Like I mentioned in my introductory paragraph, I didn't necessarily consider this a superb Wage War track, but I still enjoy it for what it is. The catchiness of the chorus is definitely what kept me coming back to this song, though I probably won't be returning to it too much in the future. I enjoy the breakdown as well. Everything about this song is what you come to expect in general from Wage War. It is a little formulaic, but you could do with a worse formula. The sentiments I have about "Who I Am" generally apply to the follow-up track "Prison". Once again, the song isn't bad, but it does feel oddly familiar to me. There's not much about the song that stands out, but I would be lying if I said it wasn't fun. The guitar riffing here is great, and the chorus does have an addictive quality about it. The first major highlight of the album ends up being "Ghost", which sounds like Wage War but is also completely fresh for them. I also appreciate that clean vocalist Cory Quinstad gets to show off his vocal abilities here. Briton Bond's screams are also really aggressive, and the guitar riffs and drumming cut deep. The band all feel really tight on this song, and it ends up being a really good track for that reason. The best song on the album is also the lead single: "Low". Once again, I did mention that I don't consider this track one of the top tier Wage War songs. That should show you my feelings about the rest of the album if this is the song I consider the best. The song has continued to grow on me with continued listens, so who knows, maybe I will consider it one the band's best cuts in the future. The guitar riff in this song definitely brings the band Architects to mind, particularly their song "Doomsday". This isn't a bad thing, though, and the rest of the song sounds like seminal Wage War material. What really lifts the song is the chorus, which is quite beautiful, and is easily Cory's best vocal performance on the whole album. "The Line" sees the band getting a little bit chaotic in the musical department; I do wish it was a little more energetic vocally. Still, some of the cool infusion of electronics here makes this song shine. Unfortunately, after this there aren't too many highlights, save for maybe "Will We Ever Learn".

I don't know if you could tell, but my praises for this album are mostly lukewarm. That's because a big portion of this album really falls short for Wage War. The lead singles for this album actually ended up being quite deceptive. For the most part, this is not a metalcore album. Instead, it's a rock album. Now normally, this wouldn't be a bad thing for me. Rock/hard rock is my favorite genre, and it has been for quite some time. The problem is, Wage War's rock here is clearly geared for the radio, as it is pretty generic in the musical department, and can be weak in the lyrical department as well. Nowhere is this more apparent than "Grave", which is perhaps the worst song Wage War has done to date. I don't necessarily hate the song, but I definitely have a strong distaste for it. "Pressure" has a surprising amount of electronic elements as well, and they are pretty awkward. I thought that if a band could do rock well, it could be Wage War. After all, Cory is a good clean vocalist, and some screams from Briton could help bring a degree of intensity to it. But "Grave" is representative of what most of the rock cuts are like from this album: dull and forgettable. Cory takes the lead on these songs, but he doesn't even sound that invested vocally most of the time. He rarely gets to stretch his vocal range on this album, keeping the songs safe and predictable. Evidence of this can be seen clearly on "Me Against Myself", which sounds almost too similar to Beartooth's "Disease" in some places. The chorus of the song has a melody that is easy to predict once you get what it's going for, and the song is far too reliant on its weak chorus. Also, there are some random screams from Briton placed in the song, and they don't work at all. "Hurt" may be the most by the numbers rock ballad I've heard all year, from the "sad" lyrics to the chorus that sounds like so many other rock ballads out there. "Fury" tries to ramp up the intensity on the album, but comes across as cheesy in the lyrical department ("When there's a war in you/One judgement, no jury/I am, I am the fury"). "Forget My Name" feels like it's trying to build up to something, but never gets there. The song feels unfinished, as it's all buildup and no true climax. "Take The Fight" comes and goes, leaving no impact on me at all.

Though my rating for this album isn't super low, I still consider it low for a band like Wage War. I was not expecting a disappointment like this from them. This is the band that brought some fresh air to the metalcore scene. This is the band that has unforgettable songs like "Stitch", "Twenty One", and "Witness". This album doesn't reflect Wage War's talents for the most part. It's not the worst rock album out there, but it is one that is pretty forgettable for the most part. There are some highlights, but I don't think any of the songs here (save for maybe "Low" and "Ghost") come close to what the band is capable of. I really hope this album was just a band trying some different things out. If they want to go the rock direction, that's fine. However, I think there need to be more songs than just generic, radio-ready cuts. Hopefully, there will be better next time. This album is easily my biggest disappointment of the year thus far.

Favorite Songs: "Low", "Ghost", "The Line", "Who I Am"
Least Favorite Songs: "Grave", "Me Against Myself", "Hurt", "Forget My Name"

Short Reviews #17

I'm back again, this time with some shorter reviews for lots of movies and music I've missed out on covering! Hopefully I'm gonna be more consistent with reviews from now on; I've just been taking it easy for a bit. Expect some full reviews on the way soon!

Movies
"Scary Stories to Tell in the Dark"
Rating: 3.5/5 Stars

I remember as a kid the anthology series "Scary Stories to Tell in the Dark" was incredibly popular. It was pretty much equal to the infamy of "Goosebumps". While I did read the latter series, I never did with the former. So, I had no real expectations of what the movie adaptation would be like. I was still incredibly interested in it, especially with Guillermo del Toro having screenwriting credits. This movie is overall really solid, even if it isn't a particularly unique horror flick. I think what brings it ever so slightly above some of its contemporaries is the way the monsters are designed. Each of them is quite unique and has their own cool flair to them. Also, for a PG-13 horror film, this one is able to deliver the scares better than most that have this rating. I think this movie does a pretty good job at ramping up the tension, ESPECIALLY with the scarecrow monster. I really think that scarecrow sequence is one of the best moments in horror I've seen this year. The performances in this film by the young cast are overall good. Zoe Colletti definitely stands out as the highlight as main character Stella. She really has some range in this film and fleshes out her character. Colletti helps us understand exactly what her character is going through, and it's easy to root for her. I really thought she brought something special to the film, and I definitely see her getting more roles in the future. Michael Garza is also really good as Ramon Morales. He complements Colletti perfectly; the two's chemistry is impeccable. I also thought Dean Norris did good for the small time he was in the film as Stella's father. There was an emotional scene between the two of them that really gripped me. There are some issues with this film. Though they aren't in obnoxious quantity, the fake-out jump scares can get a little annoying. Also, the other two younger characters in this movie, Auggie and Chuck, are a little hard to care about. I think they could've gotten more development. This movie can also feel ever so slightly predictable at times, but it's not to the point where I found myself getting bored. In fact, this is a rather fun horror movie, one that's easy to watch and enjoy with friends. I recommend it!

"Crawl" 
Rating: 3.5/5 Stars

The feelings I have about "Scary Stories" can be somewhat applied to "Crawl". I had pretty low expectations for this film to be honest. The trailers made it look not that great. It just seemed like it was going the "Sharknado" route where it wasn't wanting to be taken too seriously, and would be maybe a case of so bad it's good. However, this movie pleasantly surprised me. Is it a legendary thriller film? No, not by any means, but you really could do much worse. I really wish the trailers had marketed this film better, as it really is the seminal summer film. There are only two big performances here and both of them are really good. Kaya Scodelario is excellent as Haley, really giving it her all here to give us a good lead role. I like how  she portrays her character as someone who is tough and vulnerable at the same time. Barry Pepper is also great as Haley's father Dave. These two actors had a convincing relationship together. I appreciated that the movie was invested in their reconciliation just as much as it was invested in the alligators trying to kill them. Speaking of which, I appreciate that they didn't make the alligators creatures who do things that are beyond their abilities. I felt like everything they do here is what a real-life gator would do. It's also nice to see both Haley and Dave don't make idiotic decisions. Every decision they make is one that makes a semblance of sense. As far as negatives of the film go, I suppose that it's hard to get completely invested with the main characters, as this is a short movie. They're likeable, but they're not necessarily characters I remember very well. Also, the movie ends a little bit abruptly. I feel like there could've been one more scene to end it off better. This is a pretty good horror movie, so I recommend seeing it.

"Dumbo"
Rating: 1.5/5 Stars

Well, I held out a small bit of optimism that maybe Tim Burton could do right by "Dumbo". But I should have remembered that this is the same director who did the remake of "Alice in Wonderland", one of the first in Disney's long, miserable roster of unnecessary reboots. So, maybe I shouldn't have been hopeful at all. This movie is quite bad, perhaps one of the worst of Disney's remakes so far.
I feel like reinterpreting Dumbo is already a tough job. The original film is barely over an hour long, and the main character is silent. The movie had to be short, and its simple length made it really work. I love the original film honestly; I think it's underrated as far as the classic cartoons go. It's an undeniably hard watch for a kid's film, having a lot of heartbreaking moments. But, the message of self-acceptance and realizing there are those who will care about you no matter what is what makes the movie work. The relationship between Timothy Mouse and Dumbo is really what made the movie work. Also, Dumbo is just an unbelievably likeable character. So, what does this remake decide to do? It scraps pretty much everything about the original, including the message, to make a film that is incredibly messy, mostly weakly acted, and frustrating.

This film works when the focus is on Dumbo, which is unfortunately not as often as one would hope. The titular elephant is undeniably cute, and his CGI is realistic enough. I felt sympathy for his journey to find his mother (the only plot that has any real emotional weight attached to it), and whenever his mother and him were on the screen, you rooted for them to be reunited. Also, this film visually has some typical Burton flairs. The amusement park has a unique, eye-popping look to it, and the costuming makes for a colorful watching experience. Finally, Danny Devito seems to be having fun in his performance, and is the only human character I felt a shred of sympathy and understanding towards.

Those are the only real positive things I have to say about this film. The plot of the original Dumbo was simplistic, and worked because of that. This movie has FAR too many things going on, and none of them are worth caring about, save for Dumbo's search for his mother. One plot revolves Holt trying to bond with his kids as well as become a part of the circus again. Another involves Holt's daughter Milly trying to become a scientist. Another involves corporate villain V.A. Vandervere wanting to take Dumbo for himself to increase the appeal of his amusement park. And yet another involves Medici wanting to help his circus become more successful. All of these plots come together to create a real mess of a movie that is hard to watch. What makes it even tougher is all the truly awful acting here. Collin Farrell is really laying his Southern accent on much to thick, and is so uninvested in everything happening. He doesn't even seem to care too much for Dumbo, which is a bad thing considering he's basically the main character. Michael Keaton plays an over-the-top corporate villain, and it's amazing that Disney doesn't realize how ironic it is that they're making a rich man their antagonist. Both child actors here are truly atrocious, with Nico Parker in particular acting like a robot. I'm not sure if I can entirely blame them, though, as their lines are awkwardly written. Poor Eva Green shouldn't be in this movie at all. I don't really know what purpose she served honestly. They seem to try to make- and I joke you not- Dumbo be slightly IN LOVE with her? What the heck, Burton, he's a baby? Maybe I'm looking into it too much, but nevertheless, it's still pointless for her to be in the movie.

Everything that made the original work here is gone: there doesn't even really seem to be a central theme to the movie that I can think of. There was too much going on for any sort of message to come through. I guess the message could be that family is important? Even then, that doesn't come across well because of how soulless this movie is. This film is almost as insulting as the "Beauty and the Beast" remake- but not quite. Still, it's one of the worst movies I've seen this year, and I'm glad I didn't pay to see it in theaters.

Music
"Eclipse" by Wolves at the Gate
Rating: 4.5/5 Stars

Wolves at the Gate is one of the few bands where I feel that they've only gotten better with each new album they released. This still applies with their newest "Eclipse", which hasn't left my music rotation yet. This album excellently synthesizes everything that works about the band. Some of the songs here are the most intense they've done, while others are some of their most accessible. The album also has some of the best written lyrics of 2019, which deserve a lot of praise. There are so many tracks to commend here. "The Cure" was a great choice for lead single, as it really encapsulates a lot of the central themes of the album: that we live in dark times, and we need to turn to God for a chance of redemption. This album is more honest than most Christian releases about our individual brokenness, and it's not afraid to be vulnerable. I don't think this should go unnoticed. "A Voice in the Violence" is classic WATG, and is my favorite track on the album, as well as one of my favorite songs of the year. The lyrics "Tell me I'm yours/Tell me I'm not alone" bleed with so much honest emotion, and the guitar work in the song cuts deep. Cuts like "Enemy", "Evil Are The Kings", and "Counterfeit" show that the band aren't afraid to have fun. Other cuts like the title track, "History", and "The Sea in Between" are some of the band's most lyrically potent material to date. There's just so much to love about this album, making it easily one of my top 3 favorite releases of the year so far. Please, check it out!

Favorite Songs: "A Voice in the Violence", "The Sea in Between", "Counterfeit", "History", "The Cure", "Enemy"
Least Favorite Songs: "Response"

"Sudden Sky" by Crown The Empire
Rating: 4/5 Stars

The departure of unclean vocalist David Escamilla from Crown the Empire honestly made sense to me the more I thought about it. The band had been going in more and more of a hard rock direction, and Andy Leo could do screams well enough himself. So, I wasn't too worried about the release of "Sudden Sky", but I did have hopes it would be a little bit of a better rock effort than "Retrograde". Thankfully, that turned out to be more than the case. This album may not quite top "Rise of the Runaways", but it's still a really good release in its own right. I appreciate that the album has a bit of a conceptual arc in discussing how we need to find our humanity in a technology-driven world. Andy Leo almost seems to portray himself as robotic in the beginning of the album, and as the release goes on, the lyrics become more vulnerable- dare I say "human". There are a lot of highlights here. The band takes a lot of musical risks, and most of them pay off. Lead single "20/20" is still one of my favorites on the album, specifically for that explosive chorus. Leo is on his A-game here. "Red Pills" is sure to become a fan favorite, especially with that killer guitar breakdown that I wish went on just a little longer. "Under The Skin" stands out as the best moment of the album, with the orchestral elements giving this song a real sense of gravitas. I love the chorus of the song; perhaps one of the most beautiful sounding songs of 2019. "MZRY" is musically dynamic and interesting, with an uplifting chorus that brings to mind a better version of "Millenia". The album ends off great with the title track, where all the band members are at their tightest musically. The only songs that don't work for me are the pretentious (and unnecessary) introductory track and the underwhelming cut "March of the Ignorant".

Favorite Songs: "Under The Skin", "Red Pills", "20/20", "Sudden Sky", "MZRY"
Least Favorite Songs: "March of the Ignorant", "(X)"

"Rewind, Replay, Rebound" by Volbeat 
Rating: 3.5/5 Stars

Not really much to say about Volbeat's new release besides if you like Volbeat, then you'll like this album. I like Volbeat, so there was plenty to enjoy here. "Die To Live" is the definite standout with some killer guitar work and a great guest performance from Neil Fallon that ramps up the energy. "Last Day Under The Sun" may be a little repetitive, but it's an undeniable jam, and "Pelvis on Fire" is silly enough to be a lot of fun. The best song on the album is undeniably the epic "The Everlasting", with some of Volbeat's best guitar work to date. I also like the touching closing track "7:24", which is lead vocalist Michael Poulson's touching tribute to his child that he misses. Like most of the band's albums, this one goes on a little too long; some of the excess could've easily been trimmed off. Cuts like "Cloud 9" and "When We Were Kids" come and go with little memorability. Also, sometimes the album turns up the rockabilly aspect to the point of sheer ridiculousness, with songs like "Sorry Sack of Bones" and "Cheapside Sloggers" being a little too over the top for my taste. Still this is a fun album that still shows Volbeat is one of the most consistent rock bands out there right now. Check it out!

Favorite Songs: "The Everlasting", "Die To Live", "7:24", "Last Day Under The Sun", "Pelvis on Fire"
Least Favorite Songs: "Sorry Sack of Bones", "Cheapside Sloggers", "Back When We Were Kids"

"Finding God Before God Finds Me" by Bad Omens
Rating: 3/5 Stars 

 
Bad Omens's sophomore effort "Finding God Before God Finds Me" is certainly an improvement over their debut. I remember being frustrated with their first album, as it was clear the band had talent, but they were using that talent to be a rip-off of "Sempiternal"-era Bring Me The Horizon. There were songs with potential, with "The Letdown" in particular jumping off the page. I was hoping to see better out of them with their sophomore effort, and lead single "Careful What You Wish For" made me optimistic.

Overall, this album is a pretty solid, but it is far from perfect. The album begins on a really intriguing note with "Kingdom of Cards", which feels like the most original song that Bad Omens has done. In fact, I'd probably say it's the best track on here for its intriguing lyrical content, and the band are firing on all cylinders. It may even be their best song in general. I still think "Careful What You Wish For" is a major highlight, especially for its powerful synthline. "The Hell I Overcame" is a solid slice of metalcore, with the chorus having a unavoidable catchiness to it. "Dethrone" is an instant standout, as a super intense track with a great breakdown. It seems like Bad Omens continues to truly shine either on tracks that are entirely clean vocals ("Kingdom of Cards") or entirely screamed vocals ("Dethrone"). I hope that they will play to those strengths more on future releases. The other two highlights here are "Blood" and "Mercy", with "Mercy"'s contemplations on spirituality being intriguing to me.

However, even though this album is an improvement over the debut, the release still suffers from similar problems to the debut. This time, instead of sounding like "Sempiternal"-era BMTH, the band seems to be replicating "That's The Spirit" in many places. "Running In Circles" is a particularly egregious example of this. Noah Sebastian's screams and cleans sound almost exactly like Oli's to the point that it's nearly plagiarism. I know you can't help how your vocals sound, but there are other places he's clearly making an effort to sound different from Sykes. That's not the case for this song or "Burning Out", which is definitely the weakest track on the album. I also found "Said and Done" to be quite forgettable, and "If I'm There" is a cheesy way to close out the album. The lyrical content on this album is overall pretty good (and is partially responsible for bumping this album's rating up), but here the lyrics are eye-roll worthy in their cheesiness.

Overall, this release is just fine. There are some songs that will stay in my rotation, but I don't see myself returning to it any time soon. I'd say it's good enough to warrant at least a couple listens if you're interested.

Favorite Songs: "Kingdom of Cards", "Dethrone", "Careful What You Wish For", "Mercy", "The Hell I Overcame"
Least Favorite Songs: "Burning Out", "Running in Circles", "Said and Done", "If I'm There" 

Slipknot "We Are Not Your Kind" Album Review

By: James Southworth
Rating: 4.5/5 Stars

There aren't that many metal bands out there right now that can fill up stadiums, as well as be recognized by people who aren't even interested in the metal genre. Slipknot is one of those rare bands, and I'd say their widespread recognition is well-deserved. The band isn't perfect by any means, but they have quite a great discography to back them up. Their debut album really had them kicking down the doors with an innovative sound, "Iowa" saw them going brutally nihilistic in a very enjoyable way, "Vol. 3: The Subliminal Verses" was a wonderful combination of mainstream rock and their roots (as well as still their best album for me), and "The Gray Chapter" was an excellent return to form for the band. The only album of theirs I am more lukewarm on is "All Hope Is Gone". After a nice, long five-year break, Slipknot is back with their newest album "We Are Not Your Kind". Guitarist Jim Root expressed how the band really wanted to make something that felt like a full album experience, with each song feeling purposeful. I think that the band pretty much accomplished that purpose, as this new release is easily one of their best albums to date, as well as one of their most surprising.

The general concept around "We Are Not Your Kind" is lead vocalist Corey Taylor's struggles with depression, and how he has tried to claw his way out of it. It's really no secret that Taylor (as well as the rest of the band) have struggled with mental health. "Iowa" in particular shows their struggles in often painstakingly dark ways. However, I feel like this new album might be the band's most mature look and compelling study of it, with some of the band's best lyrics and musicality ever. The album begins on a fittingly eerie note with intro track "Insert Coin", which has the opening line "I'm counting all the killers". It's definitely an interesting line to get you hooked in, and I think the line makes more sense as the album progresses. Lead single "Unsainted" is the first full song on the album, and I think it's a perfect way to begin. This song has everything you could want out of the more catchy side of Slipknot. The chorus of this track is unbelievably infectious, and the guitar work really cuts deep. Corey Taylor's vocals are on point, and the drumming shatters your ear drums in the best way possible. This song is undeniably Slipknot, but still sounds entirely distinguishable from other tracks by the band. I find it interesting that depression is portrayed as a religious extremist in this song, with Corey angrily saying "You killed the saint in me/How dare you martyr me?". It's an interesting way to say that his depression was going to lead him to kill himself. I like the addition of the children's choir in this track, as it adds a sense of epic gravitas that works incredibly well. After this comes "Birth of the Cruel", which definitely shows the harder side of Slipknot. In promoting this album, the band talked about how a lot of tracks on here would be more of a return to the band's "Iowa" sound. This song is definitely an example of that, as there are some excellent screams from Corey and some slamming guitar riffs. This song just can't be denied, as its anger is palpable and bone-chilling. This song is followed by the eerie minute-long interlude "Death Because of Death". There are several interludes on this album, and this is definitely the one that works the best. I love the atmosphere this song has, and almost wish it were a little longer.

Then comes what is one of the biggest highlights on the album, "Nero Forte". This one is sure to become an instant favorite of Slipknot fans, and it's obvious to see why. This song is so much fun. The guitar work will get you instantly banging your head along, and the drumming is absolutely relentless here. The verses have Corey's signature fast-paced screaming style, and that put an immediate smile on my face. This song feels like a sort of spiritual successor to "Psychosocial", and that's not a bad thing at all. The chorus really seals the deal on the song, as it's one of the easiest on the album to get stuck in your head. Another absolute jam comes after this in the amazing "Critical Darling". The lyrics in this song are really intriguing to me: "What is coming has begun/It's something that you gotta see/We lie and say that it’s too late for some redemption". Corey's singing style in this song is also really cool, as it reminds me of Stone Sour. "A Liar's Funeral" bleeds with emotion as Corey discusses the people who weren't truly there for him during his depression. He also seems to call out unfair stereotypes associated with depressed people in what is some of the best writing on the album: "True victims and survivors learn to make war/Don't wanna be the sad man singing anymore/I did it all wrong so I'd get it all right/We're wasting all the candles, the dead need no light". The heartbreaking emotion behind these lyrics comes through clearly with Corey's audible pain. What I appreciate a lot about this album is that it knows how to have fun at points while also being balanced with songs that are legitimately raw. After this vulnerable track comes the absolute barn burner "Red Flag", one that I am quite confident will do well in a live setting. "Spiders" shows the first big instant of experimentation on the album, as it has more of a groove metal feel. I absolutely love it, and it sounds like it should be played at every Halloween party in October.

Great track after great track finishes up this album. "Orphan" is definitely the most traditional Slipknot song on the album, one that feels like it could fit on almost any of their other albums. The band are all in their element here, and it shows. This song is over six minutes, and it doesn't feel like any of it is wasted. It stays constantly fun and engaging, and the lyrics add an intriguing layer. I feel like Corey might be saying here that he feels like he doesn't know who he is without depression; he feels more empty and like there's no one to turn to. The pain here is once again very front and center, with Corey's screams cutting through like a knife. The honesty of Corey's pain about his depression comes full force in "Not Long For This World". This song made me quite emotional, as Taylor is really just pouring out his heart hear. In fact, it's so vulnerable that it can make one feel like they are walking in on a private moment that they shouldn't have any part of. It would be hard for a listener to not at least feel something while listening to this. And then finally comes "Solway Firth", which in my opinion is the best song on the album, as well as one of the absolute best songs of 2019. When I think of "Iowa" levels of heavy, this is the song that will always come to mind. Corey Taylor repeats the line that appeared at the beginning of the album: "I'm counting all the killers". At this point, I think it's clear what this means. He's talking about all the people or things that tried to "kill" him while he had depression. He once again calls out those who weren't there for him during his depression, and he continues to refute the stigmas that society puts on those who have depression. I like how defiant Corey is on this song, saying that he doesn't have to share his "reasons" for having depression in order to be treated like a normal human being. I appreciate the message being shared here, as it's a universally important one. Musically, this song is golden. The guitar riffs here really stick out, as they bring to mind a classic metal feel. Corey's screams are absolutely guttural, and this song never lets up on the energy. This was a rather huge way to end the album, and I'm glad the band didn't go halfway.

There aren't too many things to complain about on "We Are Not Your Kind". I do feel that the interlude "What's Next" could've maybe been taken out. Also, some of the longer songs do slightly overstay their welcome, such as "Critical Darling" and "Not Long For This World". Though I don't dislike the song, "My Pain" feels like a bit of an outlier on the album. I do appreciate the experimental feel it has, but it does sort of stick out. Overall though, this album is superb. I love how Slipknot has never been the type of band to put themselves into a confined box, and this release continues to be proof of that. For that reason, this release is going to be in my top albums of the year, and has a high recommendation from me, as it is a wonderful listen front to back!

Favorite Songs: "Solway Firth", "Nero Forte", "Orphan", "Unsainted", "Critical Darling", "Spiders"
Least Favorite Songs: "My Pain"

"Once Upon A Time In Hollywood" Movie Review

By: James Southworth
Rating: 5/5 Stars

There are some directors where you immediately associate something with them when you hear their name. Quentin Tarantino is one of those seminal directors. Most people are likely to think "Pulp Fiction", stylized violence, quotable lines, and most importantly, quality film-making. That last association is probably the one I would most associate with him, as he's made films that are basically classics at this point. He will definitely be remembered as one of the best directors of all time years down the road. There's always buzz whenever he has a new film out. That's definitely been the case with "Once Upon A Time In Hollywood". It's been four years since Tarantino's last film "The Hateful Eight", and I was interested to see what he'd cook up this time. This film revolves around Rick Dalton and his stunt double Cliff Booth. Dalton is living in 1969, which marks the end of the Hollywood Golden Age of movies. This also marks him fading out as a star, and him having to come to terms with that. This film is absolutely masterful, and is easily my favorite movie of the year so far.

There were a lot of things about this movie that are really refreshing for the cinematic landscape we live in right now. For one, this movie does feel like a relic of a time in Hollywood that rarely pops up anymore: a time when movies took their time, and didn't always have to have things constantly happening. There's a lot more quiet moments in this film than I was expecting, and I appreciated that a lot. The world of Hollywood, California feels truly lived in here. There are some shots in this film that go on for an elongated time just to give the viewer a sense of mood and atmosphere. I can't emphasize enough how much I loved that aspect of this film. What's more, the characters all feel incredibly realistic. The amount of time we get to see them just living in the world makes it feel like we could easily meet them on the street. They are real people. Sometimes characters in this movie just sit and talk. These conversations don't necessarily move the plot along, and they don't have to. The characters do not dictate the plot, rather the plot comes naturally into the film when it feels most logical to incorporate it. I think some people may try to characterize the movie as "boring" because of the amount of quiet moments here. I personally find these quiet moments to be valuable, as they give us plenty of time to intimately know each of the characters. They become fully fleshed out.

Something else I was absolutely impressed by in this film was the amount of films within the film. This is a movie that's partly about the making of movies in a way. I know there will be a lot of eye rolls in the audience when I say that, because we all know the Oscars eat this genre up. However, I think Tarantino is clearly sincere in showing his love for the Golden Age of Hollywood. There's a lot of cool moments where he's showing old shows that I'm sure will bring a sense of nostalgia, and make the movie feel all the more lived in. What's more impressive, though, is the amount of fake TV shows Tarantino creates here with Rick Dalton. He's in a black and white western that is clearly meant to be Tarantino's homage to shows like "Gunsmoke" or "The Rifleman". He's shown to be in a clip killing Nazis that is clearly meant to be lightly poking fun at over the top B Movies. The one that stood out the most to me is the western Dalton is in for the movie's present, where he plays a villain. The way Tarantino filmed the scenes where Dalton was in this film within a film were some of "Once Upon"'s best moments. Tarantino has proven with something like "The Hateful Eight" that he can do a western, but this 'movie' that we only see fragments of is even more intriguing to me. The fact that Tarantino can make other mock movies within his own film that are just as intriguing proves how great of a filmmaker he has come to be. I would love to see a fully realized version of any of the mock flicks in this movie. As they are in the film, they only serve to accentuate Rick Dalton as a character more, serving as a depressing reminder to him of the star power he used to have. 

And now it's time to talk about the performances in this movie, because they're all superb. Leonardo Dicaprio stands tall as the best performance of this movie in the role of Rick Dalton. This character is endlessly enjoyable to watch, and that's because of how committed Dicaprio is to bringing this person to life. Rick is an undeniably tragic character in many ways, due to how he used to be such a great Hollywood star, but now is fading into memory. We see through the movie that this was really all that Dalton felt he had, and losing it weighed on him heavily. However, Tarantino also brings a surprising amount of comedy out of Dalton's tragedy. Dicaprio plays this character as absolutely clueless in many scenes, taking himself too seriously. Because of that, we are supposed to laugh at him. It's clear Rick Dalton isn't really in on the joke, which makes it even funnier. There are many times when he's unintentionally funny (such as a particularly funny scene where he's getting mad at himself for forgetting his lines), and it's clear he doesn't realize how ridiculous he looks. And yet, for as much as we do laugh at Dalton, it's easy to feel sympathy for him. He is a likeable character, and seems like a generally decent person. Brad Pitt as Cliff Booth is a superb foil to Dalton. Whereas Rick is clueless about how he looks to others, Cliff seems to be much more intelligent and cognizant of the world around him. He is the first to feel something is up when he meets this cult-like group of hippies (you'll immediately know who they are once you see the movie). He also seems to see through a lot of the Hollywood facade, even able to make Rick Dalton more vulnerable towards him. I really found this character intriguing, and that's in big part due to how well Pitt fits the role. This is his best performance in years, and I hope to see more like this from him in the future. Margot Robbie has a bit of a smaller role in this film as Sharon Tate, but I still really liked what she brought to the table. She did particularly well when giving her reactions to seeing how much other people were enjoying her movie. I think in her Tarantino was symbolically ushering in the new Hollywood, and his perspectives on the new generation of film don't seem to be cynical.

The final fifteen minutes of this film cement it as an absolute must-watch. I don't want to spoil it for you, but those last minutes are some of the most memorable scenes I've watched in the theater this year. I don't have really any negative things to say about "Once Upon A Time In Hollywood". It's an endlessly engrossing film populated with characters that are great to watch. Even the smaller characters here have some intriguing things to do. It's really Rick Dalton and Cliff Booth who are the focus here, as it should be. I'm sure this movie will be nominated for some Oscars, as it should be. It's hard to say where I'll rank this in Tarantino's filmography, but rest assured it won't be low on the list. Go watch this!

Skillet "Victorious" Album Review

By: James Southworth
Rating: 3/5 Stars

If there was any one band that really defined my teenage years, it would have to be Skillet. Even if I'm not as passionate of a fan of them now as I used to be, I'm still grateful to them for being the gateway to me discovering a bunch of music. I still hold "Comatose" in high regard as one of the best Christian rock albums out there, and "Collide", "Alien Youth", and "Rise" are all very solid offerings. I even was more positive than most were on "Unleashed" in 2016. Unfortunately, that album hasn't held up entirely well for me upon return listens. I have to laugh at myself for putting it in my top 10 albums of 2016 (I was just getting really passionate about musical criticism during that time, so you'll have to forgive me for my clouded judgement). There has been one big pervading problem with Skillet post-"Comatose": they've been trying to replicate that album ever since. "Awake" is still the most egregious evidence of that in my opinion, but "Rise" and "Unleashed" also can feel like pale imitations at times. Also, Skillet's one-word album titles can't help but feeling cheesy at this point. They continue that trend with "Victorious", which came out last Friday. How does the band's newest hold up? Well, I can say that it's better than "Unleashed", but still has its significant share of problems that can't be ignored.

The album begins on a conflicting note, which is fitting, as my opinions on this release are conflicted. When I first heard lead single "Legendary" (which is also the opening track to this album), I despised it. I have warmed up to it for the most part. It's a decent enough opening to the album, with the explosive guitar riffs feeling pretty energetic. But this song is no "Rebirthing" or "Rise". There are undeniable issues with it: the filler "oh"s, the dime-a-dozen inspirational lyrics, and the overall obvious radio rock pandering are all noticeable. Despite all that, I still find myself coming back to the song for the catchy chorus. This track is definitely not one of my favorites on the album, but I don't find it horrible any more. Thankfully there are other tracks on here which are good in their own right. This is definitely the case for the title track, which is certainly one of the most significant highlights on the album. This is due in part to the "Comatose"-feeling strings that appear in the song. Incorporating orchestral elements is when Skillet seems to thrive the most, and they use them in a way that feels like a fresh way on this song. John Cooper's vocals here feel really confident, and his harmonies with Jen Ledger come across as quite beautiful. Even the usage of filler "oh"s here works well enough, mainly because they don't overstay their welcome. I really appreciate the uplifting chorus of this song, as it discusses overcoming impossible odds without sounding cheesy or over the top. "Save Me" was the second single of the album, and was another song that I started out disliking. However, unlike with "Legendary" where I am lukewarm, with this song I actually do like it pretty well now. It took me quite a few listens to finally like it, but it did happen. I think what helps is the sense of weight and desperation the song has, especially in the urgently sung chorus. The guitar work in this song is pretty interesting too, with some creative riffing being incorporated throughout.

The second half of this album is a little better than the first half. There are more songs that stand out here, and Skillet even take a few musical risks. Skillet has always been either hit or miss with their ballads. Thankfully on this album, both of the ballads end up working pretty well. Even though "Terrify The Dark" is the slightly weaker of the two slower cuts, I still like it. The discussion of how God's love takes out any darkness is presented in a way that is inspiring. It doesn't feel like Skillet are laying it on too thick, and the incorporation of piano in this track really lifts it up. Skillet does not use piano much at all, and it almost always tends to work when they do. This album ends out on a pretty solid streak of four songs. This streak starts with "Reach", which is my personal favorite track on the album. This song is the one of the few times where Skillet is able to replicate the emotional content of "Comatose" without it feeling like a carbon copy. I adore the guitar work in this song, as it is quite gritty and intense. The lyrical content of this song is above par for Skillet. I've never considered Skillet to be a lyrically great band, so it was nice to see a song here with some potent moments: "You were the only one to see/Secrets locked inside of me/You were the only one/So tell me where you've gone". The lyrics are admittedly simplistic, but I think they do really well at bringing the intended message across. I enjoy Jen's drumming in this song quite a bit as well. "Anchor" is the other ballad on this album, and it is definitely the stronger one. I could see this ranking among Skillet's best slower songs. It certainly has a worship vibe to it, but it doesn't feel entirely cliched. I like that John Cooper's voice sounds a little different than usual here, especially when he takes most of the raspy qualities of it out in the chorus. "Finish Line" is a solid rock anthem that is easy to have fun with, and "Back to Life" is perhaps the strongest song here as far as musicality goes. This song has an incredible guitar solo at the end that will definitely get your head banging; I wish there had been some more big moments like this on the album.

Like I mentioned in my introduction to this review, there are some problems with this release that can't be ignored. While there are more positive tracks here than on "Unleashed", there weren't many tracks here that truly wowed me. I think "Reach" and "Victorious" are the only two songs that I would put in the higher tier of Skillet songs. Other songs here are just solid enough. There are some pretty weak cuts on this album. Even though nothing quite gets to the cringe worthy level of "Famous" or "Lions", there are still some cuts here that I will definitely be skipping on repeat listens. The most primary of these is what is (in my opinion) the worst song on the album: "This Is The Kingdom". This track feels like a really cheap "Evolve"-era Imagine Dragons song. And you all probably know how much I detest that album. This song is quite bad, and the poppy elements here don't work at all. I'm not really sure if Skillet could ever do pop properly, especially if this is what they're going to do with it. "You Ain't Ready" is a frustratingly generic radio rock track that made me angrier than it probably should have. I think my anger comes from the fact that I know Skillet can do better than this; in fact there's evidence they can on this album. The motivational cliches here are in abundance, and Cooper sounds like he's on automatic for his vocal performance. "Rise Up" also fits the moniker for highly generic motivational song. Honestly if you would've put "Burn It Down" or "Undefeated" from Skillet's previous work in place of this song, I probably wouldn't have been able to tell the difference. I really wish Skillet would find more things to talk about in their rock anthems besides overcoming obstacles. "Never Going Back" is yet another example of this theme. That makes for at least four different songs with the exact same subject matter.

There are problems with this album that will continue to bother me on subsequent listens of this album. I know Skillet can be better. The huge Skillet fans will eat this album up; there's no doubt in my mind. When I was a teenager, I know I would've probably loved it (although I think even at a younger age, I would've still skipped over some of the songs here). My overall assessment of the album is that it's solid. It's not great, but it's not horrible either. If you want to listen to a Skillet album, then you're going to get just that with "Victorious". I doubt your opinion of the band will shift one way or the other with this release, as Skillet plays it relatively safe, for better or for worse. I will be returning to some of my favorites from the release, but will probably be skipping on the rest. This album proves there is hope for Skillet to one day get back to the quality they used to have. I hope it will be the next album. For now, this is satisfactory enough for me.

Favorite Songs: "Reach", "Victorious", "Anchor", "Back To Life", "Save Me"
Least Favorite Songs: "This Is The Kingdom", "You Ain't Ready", "Rise Up"