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Infest The Rats’ Nest: Environmental Thrash

February 12, 2020February 12, 2020 jushutch Leave a comment

One music genre that I struggle with is new rock and metal. There’s usually just too much noise and screaming and it gives me a headache, not to mention I have no idea what is going on lyrically or even musically half the time. On the other hand, I really WANT to enjoy heavy metal; the aesthetic is so raw and emotional, and great heavy metal music (think Iron Maiden) can be extremely motivational and profound. So I’ve spent a long time searching for new metal that I can actually enjoy, and that long and tedious journey finally led me to Infest the Rats’ Nest, a thrash metal album conceived by King Gizzard and the Lizard Wizard (don’t ask me about the name, I have no idea). Immediately this album set itself apart: it was clear and concise, with real musical composition that was understandable, it featured an environmental theme focusing on humanity’s destruction of the Earth, and although it was still more aggressive than I was used to at first, it was so catchy that I couldn’t stop listening, and it’s one of the most insanely energetic albums I have ever been able to listen to.

Surprisingly, King Gizzard and the Lizard Wizard usually produce psych rock and noise rock, which shares a lot of commonalities with thrash metal: it’s loud, over-the-top, energetic, and features a lot of interesting instrumentation. However, I can’t seem to enjoy any King Gizzard project as much as Infest the Rats’ Nest, and I think it’s because it’s the only album that strikes a great balance between the actual music and the content. This album in particular features a great concept that is executed flawlessly, unlike other albums that are all over the place, both in ideas and composition. The story of Infest the Rats’ Nest starts with a burned out planet Earth, largely destroyed by the unsustainable and destructive practices of the human race, portrayed best by these lines from the opening track Planet B:

Urbanization

Scarification

Population Exodus

There is no Planet B

Open your eyes and see

Not only do these lyrics hit close to home in the current day and age of environmental concern, they are so raw and accurate that it takes you by surprise. I never would have thought that thrash metal was the place to convey an environmental message, but listening to this song for the first time was mind-blowing: it makes perfect sense that the destruction of Earth, our home, should be portrayed with cynical clarity and thrashing aggression. These lines are especially powerful due to the perfect delivery by the lead singer and the accompanying gut-wrenching guitars and drums.

On the next track, Mars for the Rich, the perspective is that of a farmer left on a scorched Earth, poor and doomed to die a horrible death, while he watches the rich traveling to Mars on TV. The irony is strong after the haunting message of Planet B, and shows how although there is no planet B for the human race, there is for the rich and privileged.

Mars for the privileged

Earth for the poor

Mars terra-forming slowly

Earth has been deformed

The next track of interest is Superbug, which is exactly what it sounds like: a virus that is immune to antibiotics and ravages the Earth, infecting the population and lasting for generations. The concept of this song is best summed up by these lyrics:

Superbug gave a shrug

And ate all your prescription drugs

and never, ever, ever stopped

…

Unnecessary

Anti-Bs

Likely killed humanity

This track is almost prophetic given today’s situation, although it was bound to come true eventually given how accurate is and how careless humanity is with antibiotics, especially in relation to factory farming. One thing I love about this song is how gritty and terrifying it is; the Superbug is portrayed as indiscriminate and inevitable, while the narrator anguishes about the Superbug in his blood, knowing that he is doomed and so is the rest of humanity. Again, I think this song really emphasizes how perfectly thrash metal and environmental consciousness complement each other, using grim lyrics and devastating instrumentation to convey the looming destruction of the Earth.

The second half of the album is just as interesting, if not more sci-fi oriented, and continues on the environmental themes of the first half. I would love to discuss it more but unfortunately this post is already quite long; therefore I recommend giving it a listen yourself. Pay attention to the message of each song and how they all connect, while also noticing how well the music complements the message, then feel free to leave a comment and we can discuss it further. Regardless, Infest the Rats’ Nest is a stand out metal album, the only one of its kind, due to both the quality of the composition and the effective presentation of its unique environmental message.

2020 Grammy Performances

February 5, 2020February 5, 2020 jushutch Leave a comment

First off, I don’t watch the Grammys or follow the awards; I have no idea what the categories are, how the winners are determined, or how Billie Eilish can win 5 Grammys, including Album of the Year and Record of the Year (what’s the difference again?). But I did catch the aftermath this year, namely the musical performances which tend to be an iconic part of the awards show. Personally, I was most interested in the performances by Tyler, the Creator, Bilie Eilish, and Lil Nas X, of which Tyler is the most senior, having been rapping and pushing the limits of the genre for the last decade, while both Billie and Lil Nas are recent stars on the hip hop/pop scene. All performances were interesting in their own way and extremely telling of the current music industry, and for that reason I want to look at how successful each performance was and what defined them.

My favorite performance by far was Tyler, the Creator performing a medley of songs off of his most recent album Igor, which you may remember me writing about last fall. It ended up winning Best Rap Album of the Year, which is somewhat controversial, considering how experimental and genre-breaking Igor truly is. Many critics of the Grammys (including Tyler himself) point out the historical connotations of the Best Rap Album award, which has been one of the only awards consistently won by African American musicians, and feel that the forcing of Igor into this category further displays the role of the rap award as a participation trophy for African American artists.

Regardless of the politics around the award, nobody can argue that Igor didn’t deserve the Grammy; it truly is one of a kind, a fusion of multiple genres and saturated with personality and aesthetic. Tyler brought these exact qualities to his explosive performance, featuring a beautifully sung intro, then wild and intense effects followed up by an insane, almost heavy metal raging and dancing, leading to another beautifully sung reprieve, and finally a crescendo of visceral craziness and adrenaline, leading to a fitting climax. I definitely recommend watching it yourself; words can’t do it justice. Even if you don’t usually appreciate that style of music, I think the performance is objectively fantastic. I found that my heart was racing when I was watching, and I caught myself smiling at the end, that’s how much I was drawn into the over-the-top qualities of the performance. Not only was it more entertaining than any other performance, it actually put the music on display, perfectly conveying the themes and emotions that go along with the album.

The next performance I watched was Billie Eilish performing an acoustic song off of her most recent album with her brother on the piano. It was certainly well done and haunting, but its impact was almost insignificant compared to Tyler’s. I should acknowledge my bias towards Tyler first however; I simply appreciate his style and musical development more than Billie’s. I was a fan of hers when she first started, but I quickly felt like all of her music sounded the same (which is a pretty generic critique, I know). Perhaps her style is just meant to be subtle, and I missed the point of her performance, but regardless I felt like it left a lot to be desired, which is surprising considering how many Grammys she won.

Last but not least was Lil Nas X performing a medley of Rodeo and Old Town Road, both viral hits last year. They’re great songs and all, certainly very catchy, but it’s hard for me to see him as anything more than just a meme. I don’t mean that with disrespect; I definitely think there is a place in pop culture for viral music and his endearing personality, but I think he objectively lacks the artistic skill of more serious or developed musicians. He might grow into a more serious artist one day too, who knows, but for now I think his music is just meant to appeal to the lowest common denominator of today’s pop culture, which I think was put on full display during his performance. Studded with other celebrities and musicians, his performance felt like an odd fever dream with some familiar faces, but no unifying style. It was practically a musical advertisement for the music industry, not an example of outstanding creative performance. It makes sense that Lil Nas would rely on the reputations and popularity of other musicians, considering he has just started making a name for himself, but it certainly doesn’t help him to stand out or create his own musical legacy.

Hopefully this didn’t turn into a rant (it can be hard to tell sometimes), and I think my biases are pretty obvious, but regardless I think that comparing these iconic performances can reveal a lot about what makes award show performances so important, and what makes a performance stand out or blend in. In my opinion, Tyler’s performance is the gold standard of memorable, experimental, mold-breaking, and artistic. It might not be fully appreciated by general audiences, or appeal to the popular culture spheres of today, but I think it will be remembered as iconic in the history of award performances. The other performances will likely be forgotten by the next Grammys, but hopefully those artists will have another chance to prove themselves with more experience and perspective under their belts.

Some Quality Ambient Music

January 29, 2020January 29, 2020 jushutch Leave a comment

One of the most unrecognized and unappreciated music genres is ambient music; I should know, I hadn’t really listened to an ambient album until this year. It wasn’t out of strong feelings either, it was just a lack of knowledge about what defines good ambient music and what the purpose of ambient music is in relation to other genres. Personally, I ascribe a specific emotion or mood to certain genres, just based on my experiences with them and their energy. For example, I listen to metal to get angry or determined, classic rock to be happy or calm down, hip hop to be challenged musically, classical to feel studious or refined, etc. Previously, I associated ambient music with boring music, simple to make and unimportant. Only recently, when I started listening to the Monument Valley soundtrack on vinyl in my room, did I start to appreciate the unique place of ambient music. Now I want to present three of my current favorite ambient albums and give some thoughts on what makes each one stand out.

Image result for monument valley album cover" If you’ve been keeping up with my posts, you’ll know I already discussed Monument Valley in detail and how much I love it for its style and simplicity. Those same principles work just as effectively on its soundtrack, which is airy, vibrant, and absolutely gorgeous. While some might argue that it belongs in a different genre, I would say that the subtle instrumentation and clear effort put into the sound design and composition place it firmly in the ambient genre. This record has been my first experience with ambient music and it has made me realize that ambient music is meant to be appreciated thoughtfully; each note is placed with purpose and every silence is more expressive, since there are no distractions from the minimal atmosphere. Other music genres often become formulaic (intro, hook, bridge, chorus, repeat), but ambient music is forced to do more with less, leading to really fascinating instrumentation and musical development.

Image result for minecraft volume alpha cover" Another ambient album I’ve been listening to is the Minecraft soundtrack, Volume Alpha by C418. You might be surprised to see another game soundtrack on here, especially one that you wouldn’t recognize if you haven’t played the game. However, it has recently become appreciated as a truly special ambient album; people who play the game might not be able to tell you a song or what it sounds like, but they’ll be able to hear it and tell you exactly where it’s from. Most interesting to me is how well the soundtrack complements the style of the game, but also how well it stands alone. It features a lot of bright piano and synths, along with some really unique instruments that are folksy and adventurous. It’s a great example of the creativity that ambient albums embody, not only in composition but also in atmosphere. Whether in games or as stand alone projects, ambient music is often interpreted as a means of creating atmosphere with background music, but there exist many albums such as this one that are even more interesting and unique when appreciated alone.

Last but not least is this gorgeous record Kankyo Ongaku (Japanese Ambient, Environmental & New Age Music 1980-1990) by various Japanese artists. I never would have found this if it hadn’t been reviewed by theneedledrop, who gave it a very favorable review and piqued my interest. This album stands apart from the first two, not only because it is a stand alone ambient project, but because of its Japanese compositional influences. It fits the common mold of ambient music, featuring crashing waves, chirping birds, and other natural sounds (as expected by the title), but it defies the typical boring stereotypes that usually accompany that style. It does so by being expertly crafted and full of intention; the opening track itself is a testament to the articulate style of the album, featuring precisely placed bells and drones, each with a specific balance and design that creates a thoughtful, meditative space. The whole album is intricate beneath the surface, and requires sharp attention to detail; I listen to it with headphones at night, when everything is quiet and I can truly appreciate every perfectly placed note. This album is the perfect example of what makes ambient music so unique, and I hope that more people can develop an appreciation for these qualities just as I have.

Circles, a Posthumous Album by Mac Miller

January 21, 2020January 21, 2020 jushutch Leave a comment

A while ago I wrote a post about the album Swimming by Mac Miller, released only a few months before his tragic and sudden death. In that post, I focused on the perspective and depth that his death brought to the record; it was already a masterpiece of production and quality, but his passing brought new meaning to the solemn and haunting lyrics and changed the tone of the album to one of bittersweet mourning. I still listen to that album frequently and appreciate the unique insight it gives into the complicated mind and mixed emotions of Mac Miller right before he passed. Needless to say, I never expected that there would be another fully produced album coming out in 2020, almost 2 years after his death. The posthumous album Circles was released on the 17th of January, with little fanfare or spectacle, which already set it apart from most posthumous music releases from other young musicians who have passed recently. I had no idea what to expect; it was reported that he was already working on the album during the same time as Swimming, and that it was intended as a sister album, but I had to wonder how much he had actually finished and how much was just his label dragging out clips and ideas that he had left behind, never intended to be finished. Not to mention that Swimming seemed like the capstone of his musical career, a fitting and bittersweet monument to his character and legacy. Clearly Circles had a lot of expectations to live up to, both as a posthumous project and as the final gift of Mac Miller to the world, and I am relieved to say that it provides the catharsis that the world was looking for.

The album features 12 songs, covering a wide range of styles and genres, but all united by the bittersweet singing and lyricism of Mac himself. It is remarkable just how much material his production team (led by Jon Brion) had to work with, and how well they flushed out the songs and ideas that he left behind. Some tracks show more strain than others unfortunately, featuring simple choruses or structures, hinting at the limited recordings they had to work with. Regardless, the production is always beautiful and perfectly complements the feelings that Mac conveys through his singing, making each song feel complete, even if not outstanding. In general, many people criticized his singing on Swimming, a gradual departure from his iconic experimental rapping, but in Circles he has fully developed his voice and style and it is tragically gorgeous. Each song is saturated with personality by his relaxed and melancholy presentation, more fitting and bittersweet than ever after his passing. My personal favorites are Good News, Circles, Hand Me Downs, and I Can See, which are all diverse in their own way, but convey his state of mind so elegantly that it’s hard not to cry, thinking about how such an emotionally complex and wholesome person was taken from a world that needed him. Overall, Circles is a tragically self-aware album that reflects on the last thoughts of Mac Miller, a young kid from Pittsburg who made a profound impact on those who knew him and left the world a better place. Finally, I’ll leave you with these words from the legend himself:

“My god, it go on and on
Just like a circle, I go back where I’m from”

– So It Goes, Swimming

Conan O’Brien Needs a Friend

January 14, 2020January 14, 2020 jushutch Leave a comment

Most likely you’ve heard of the comedian Conan O’Brien, most well known as the host of the late night TV show Conan, where he puts his abrasive yet endearing personality on display in sketches and interviews. Personally, I’ve never enjoyed late night talk shows; I usually find them to be overly political, extremely shallow, or just thinly veiled advertisements of celebrities and other entertainment. Most of the hosts are too dramatic, as if they were trying to entertain children, or they are just clearly bad at conducting interviews. Conan is no exception: a few of his skits force a laugh, his personality is unique and comical, and his interviews are no worse than any other late show, but I have never been able to sit through an entire episode. Whether it be a lack of interest, or a failure in the talk show formula, I’ve never been able to consistently watch any late night show, let alone Conan. However, I was recently told that Conan hosts a small podcast, which is widely praised and quickly gaining popularity. The name of the podcast is Conan O’Brien Needs a Friend, and each week Conan interviews one of his celebrity contacts in a search to find out who is actually his friend and who is just a professional acquaintance.

I’ve tried podcasts in the past but they never caught on; I couldn’t be bothered with downloading them, finding them, or finding time to listen to them, so I eventually gave up. Recently it’s been different, ever since I started listening to Conan. It’s the one podcast that I can listen to from beginning to end and still wish there was more, that’s how impressive and unique his podcast style is. First, I find the concept of the show interesting, which considers how famous celebrities often struggle to make authentic friends just like the rest of us, humanizing them and painting them as regular people with extraordinary experiences. Second, I think this is the ideal format for Conan; he can rely on entirely verbal comedy, not childish antics as often seen in his TV show sketches, and I think his interview style is much more suited for the intimate setting of a podcast. When he interviews in front of an audience, both him and the guest are putting on a trained persona, crafted to create a positive public opinion and maintain a certain reputation. On the podcast, Conan becomes authentic, and in doing so he is able to draw out the authentic personalities of his guests.

Some of my favorite podcasts so far have been interviews with Ben Stiller and Stephen Colbert, both amazing and inspirational celebrities in their own right, but also fascinating people with complicated histories. It was so strange hearing Ben Stiller give a genuine recount of his childhood and cracking jokes, not promoting some new movie or TV show. I got caught up in how normal and hard-working he was, hearing about how he got into comedy and paved his way in the industry. The interview with Stephen Colbert was very similar, as Colbert talked about his rough childhood and related to Conan about the power of suffering to produce comedy. It was something you would never see on TV, since it would be considered too dark and not entertaining, but I found myself more intrigued than I had ever been watching a TV interview. Overall, I think Conan is in a unique position with his podcast: not only does he have the ability to interview other celebrities, he also has a talent for leading sincere and thoughtful conversations through his personality and comedy. I highly recommend giving it a listen, even if you aren’t one to listen to podcasts; Conan O’Brien needs a friend is the gold standard for the power of podcasts.

Monument Valley

January 8, 2020January 8, 2020 jushutch 1 Comment

The history of mobile games is volatile at best, built on cheap gimmicks and popular trends, as seen in games such as Fruit Ninja, Angry Birds, and Flappy Bird. Overall, mobile devices have long been abused and misused as mediums of quality artistic expression, lacking notable works of art and remaining barren of any significant creative expression. It is certainly not due to any inherent limitations of the medium; most modern smartphones can compete with modern laptops and computers relative to graphics and hardware capabilities, but more likely due to the precedents set by the first mobile game gold rush, started by simple, cartoonish games that relied on repetition in order to increase advertisement time. However, one game series stands apart from the rest in every single way: Monument Valley is a stunning and surprising work of art, featuring an amazing style, atmosphere, and complementary soundtrack, all relying on a simple yet endlessly fun and fascinating gameplay. Not only does it demonstrate the true artistic capabilities of the mobile medium and set the bar for future artists and developers, it does it all without relying on cheap ads and gimmicks.

I discovered Monument Valley when it was first released in 2014, as I was scrolling through the home page of the Apple app store. It was praised as a truly unique puzzle game of “impossible geometry”, and it featured a minimal yet beautifully crafted art style. It was actually the first mobile game that I paid money for, which was certainly unusual at the time, especially considering it was $2.99. In hindsight, I find it fascinating how quality mobile game studios are forced to sell their games so cheap relative to console games, which often range anywhere from $20 – $60, just because the mobile market is dominated by cheap games that depend on adds and in-app purchases. Needless to say, it was the best $2.99 I ever spent: since I first opened the game I couldn’t stop playing, I was completely immersed in the colorful and intricate world of Monument Valley.

The game relies on a simple tap to move mechanic, as the player tries to guide the protagonist Ida to the end of each maze-like architectural wonder. My favorite part is the clear care and detail that went into every level of the game (of which there are only 10 levels), as seen in the design, art style, atmosphere, accompanying soundtrack, and subtle plot that is developed throughout, as the player discovers more and more about this forgotten world of impossible geometry. Compared to other mobile games, its simplicity is its greatest strength: it features a few main characters, a simple mechanical concept, and puzzles that are challenging but never impossible. However, it sets itself apart in its quality and artistic craftsmanship, where each level is its own world, full of clever tricks and beautiful geometric design, which perfectly complements the game itself while also making every frame a work of art in itself.

Monument Valley is entirely unique and deserves to be recognized as a work of art, just as significant as any great album or famous painting, if not more so for its role in breaking the expectation of what a mobile game has to be. It is not meant to be played endlessly and mindlessly, but instead appreciated and savored; it is not a pitiful attempt at money grabbing, but a beautiful artistic concept that was perfectly executed through the mobile medium. The developers continued to build on the exceptionalism of Monument Valley with Monument Valley: Forgotten Shores, and Monument Valley 2, which I both equally recommend (Monument Valley 2 deserves its own post, considering how it expands on the themes of the first game while completely revolutionizing its art style). I would love it if these games could receive more recognition, not only because they deserve it, but because they represent everything that mobile games should be.