2021 is a strange year to reconcile. The problems concerning the Covid 19 pandemic persisted, and lately it seems to have grown worse somehow. Vaccines are available, but they never promised an end to the pandemic, and the virus remains a prominent danger. It's almost laughable how a year ago I and many others had clung to the hope that this would all end by the spring. Some of the latest material I've heard or read about suggests this will last for a long time yet--maybe until 2025.
It is frustrating to know that mask-wearing, social distancing, amenity closures, and travel restrictions will continue. These measures have become mundane and expected though. Going through the motions of work and home day-to-day only ingrains these measures as normal. This is all indeed the new normal. But because it's normal, I'm not exactly mad about any of it.
If anything I think I enjoyed a more normal year in '21 than I did in '20. I had the good fortune to leave my house and see more interesting places around the area. My travels this year included Savannah--probably the last biggest city I wanted to see while I'm here, and it was most distinctive for its historic buildings and sheer number of parks. This area also boasted a few historic forts worth visiting (namely Fort Jackson, Fort Pulaski, and Fort McAllister). In the autumn, I took a trip to the Smokey Mountains with my dad and we saw the town of Helen (in time for Oktoberfest). We visited small towns, a lake, the Sasquatch Museum, and a number of orchard and farm stands that provided a wealth of fresh apples. At one point, I went to Callaway Gardens with my mom and dad. It was late in the season to see substantial amounts of flowers, but their butterfly house offered a remarkable abundance of butterflies all together in one spot, which seemed quite magical. I had a chance to hike around the local trails through woods and swamps, where I took quite a few decent photos. Above all, I had quite a few outings with friends and family at tea shops, restaurants, museums, the driving range, and I even braved the cinema once. I've been outside the house quite often, seeing and doing enough to make my time feel worthwhile.
Collage of sights I've seen in 2021.
My writing habits have flip-flopped between periods with zero productivity and periods where I pumped out some nonsense. I attempted to write a humorous superhero spoof at one point, but progress halted after a few chapters. I've attempted to fix issues with previous drafts, but ran into other problems and I had to go back to the drawing board. My biggest effort happened in November for National Novel Writing Month, during which I attempted to rewrite an old novel and make it something better and worthwhile. Those results came out rather mixed, and so very incomplete.
Last year, I had ambitions to make time to do more. One of my resolutions was to listen (and really listen) to more music. I did so in bursts. I spent some time reading books and finished eighteen titles--problem is, I fell out of practice of reading and most of the ones I finished were graphic novels. I found little time to pursue other interests, like exercise, drawing, photo and video editing, and yes, blogging. It's difficult to squeeze in all these interests on a day-to-day basis, and it's easy to forget these pursuits over time. I'm certain there are methods to organize and manage my time and goals better, it just requires conscious effort and changes to my routine--these changes are inherently challenging.
That's not such a dire shortcoming that I plan on making a resolution though (although I might make a stronger effort this year, and it will probably benefit me to plan and set goals more often). All of these things I focus on are self-serving in the end, and I fear lately that I've been too self-centered all this time and haven't focused enough on other people. I believe I have inherently introverted habits, and I don't always have a desire to extend beyond my personal bubble, talk to people, and get to know them. If nothing else, I could stand to be friendlier and stop operating through a narrow, task-driven tunnel view of the world. I believe I can improve my social skills and emotional intelligence through such simple steps as exercising more gratitude and appreciation every day. I can make a conscious effort to greet people and ask more questions about themselves, and talk about myself less. More prayer and meditation will help. If I make some minor changes now to my daily habits, I hope that it'll eventually become second-nature.
I still expect to make a greater effort with the things I want to accomplish. In 2022, there is a strong chance that changes in my workplace will shake up my life again, and it will be exciting and challenging. There will be interesting and enriching experiences coming, and I hope to face it all with greater maturity and openness than before. I hope that everybody reading this will find success and happiness in your own pursuits.
Do you remember that one movie where the Marx Brothers collaborated with Salvador Dalí and a lot of surrealist shenanigans ensued? Yeah, I don't either...because such a film doesn't exist.
Dalí made the attempt many decades ago, drafting a screenplay for the Marx Brothers that promised to blend his signature brand of surrealism with the Marx's brand of absurdism (with Harpo as the protagonist, given that Harpo and Dalí were buds). It never got off the ground, with producers shooting the project down and Groucho famously stating, "It won't play"—his way of saying that the script wasn't funny enough. So the script, the notes, and the sketches remained lost until the 1990s—by then, serious attempts were made to piece the thing together to see what this film might have actually looked like if it was allowed to happen. In 2019, Josh Frank teamed with Tim Heidecker (of Tim and Eric Awesome Show, Great Job!) and artist Manuela Pertega to realize this project as a graphic novel. Hence, Giraffes on Horseback Salad became a tangible story for the first time in history.
The story is about as bonkers as its title. It follows an aristocrat named Jimmy (who would have been played by Harpo Marx) who swoons over the enigmatic "Surrealist Woman," who famously seems to destroy reality everywhere she goes and turn everything into sheer nonsense. Jimmy's girlfriend naturally disapproves, and she sets out to take down the Surrealist Woman at all costs. But not before the city falls into an all-out street war between rationality and irrationality. All this nonsense culminates in a farce of a trial. Throughout these grand struggles, Jimmy ultimately struggles between embracing the inner nonsense of himself (goofy horn and all), or remaining loyal to reason and social order.
It's easy to see why this wouldn't play as a film, especially from the 1930s. At the very least, this is a bizarre mis-match of brands. I've recently grown fond of Dalí's work, and many signature elements of his appear in the book either visually or as "gags," some of which he had penned himself back in the day (this includes such weird things as giraffes on fire with gas masks, people having rotisserie chickens tied to their heads, or Harpo grating statues with a harp as if they were made of cheese and feeding it to a monkey). Some of this is rather grotesque (especially when interpreted in Pertega's art, where things seems to drip or melt off the panels), and I'm not sure that the more garish elements mesh that well with Marx Bros humor. Not to mention, I seriously question how anything in this book could have been made in the 1930s, when the advents of special effects and CGI were absent.
I appreciate the effort of translating this insane project into a graphic novel, since it allows us to see the ambitious visual spectacle and read the proposed story simultaneously. It's not a perfect translation though—and it probably never will be since nobody can truly recreate whatever thought patterns Dalí or Harpo Marx had back in the day. I applaud Pertega for sticking close to Dalí's style, and the artwork might be the book's best feature. It is a colorful and bizarre menagerie of color and detail that I can't stop gazing at and admiring. Heidecker and Frank also deserve credit for keeping the snappy dialogue true to the Marx Bros' style of humor (especially Groucho's dialogue, which is appropriately fast and witty). All that being said, I do find it a little head-scratching that the book presents itself as a "film", in the sense that it uses screen headings within the panels, some action notes, musical numbers, and even the first page is a notice to the "audience" as if the book is a literal show. I might be over-thinking this aspect, but it might take me out of the book a little since it constantly reminds me that this was supposed to be a movie at one point. This book even has a soundtrack available. Regardless, the graphic novel format has certain limitations that hamper some aspects of the story—it's especially hard to reconcile how the actual artwork (some of which is even used to frame the panel) works in motion.
The actual story reminds me a lot of Fritz Lang's 1927 film Metropolis (an all-time favorite of mine), particularly because both stories feature a woman character who somehow disrupts social order. Giraffes on Horseback Salad adds the extra layer of nonsense-vs-reality, going so far as internalizing some of this within the protagonist. It's especially admirable that the book highlights the two sides by illustrating the "real world" as black-and-white and the surrealist elements in full color (similar to how 1939's The Wizard of Oz did). The book aims to give Jimmy an internal Jekyll-and-Mr.-Hyde struggle between his normal self and his nonsense self, all of which is brought about by the Surrealist Woman. This is a conflict I find compelling personally, because I often find myself at odds between the gravitas the real world demands and the absurdism of my imagination. Naturally, I find the Surrealist Woman and all the scenes surrounding her the most fascinating, and I even appreciate the brief flashback that suggests how she chose to embrace surrealism. All that being said, some things about this story could have used some fleshing out—Jimmy's struggles and his arc doesn't take the front stage like it should, and it doesn't help that it's often sidelined by Groucho (as usual I guess) and the many side gags. The love story between Jimmy and the Surrealist Woman is one of those where they just sorta fall in love with no clear chemistry or reason—you know, typical Hollywood baloney. The opening hook is probably the least-interesting scene of the book, although it has a brief joke that strikes me as Kafkaesque. Plotting is good in the sense that it steps us through Jimmy's mundane life before totally upending it, but the middle portions appear utterly random (and that might not even be a valid criticism in a book about nonsense). What might be the most disappointing (at least to Marx Bros fans) is that Jimmy's inner-Harpo doesn't really emerge all that often, and it comes across as a mis-characterization.
It's far from a perfect piece of work, and if MGM actually made this film in the 30s, it would have flopped hard. As a comedy, the book may elicit a few chuckles, but it's not really a traditional comedy in any sense (in this case, through the lenses of absurdism or vaudeville, it's still pretty weird). As a budding fan of surrealist art, however, I find much to admire about the project and I'm very enamoured by the artwork, the characters, and the underlying themes. Ultimately, I see this more as one of Dalí's vanity projects, and I'm okay with that—it's different, and it's interesting to contemplate the possibilities. I'm pretty sure the story even goes so far to mirror Dalí's own relationship with Gala, especially given the "alternate ending" in the last few pages.
If nothing else, this is a handsome-looking book with a nice hard cover and a small wealth of behind-the-scenes text to chronicle the story's history and how the writers pieced this together. The story of the story might be more interesting to most folks. For me though, the actual content strikes a chord and I admire many things about it. If they fleshed this out a little more, it could probably be a fantastic cartoon someday (and as proven with Disney's Destino, this is probably the best middle ground to realize the project's vision in full). As it is though, I like the book just fine and will gladly order five with a side of lobsters.
Few films exist intending to awaken the mind and the senses. It takes a sophisticated and artful approach for films like Koyaanisqatsi, Samsara, and Baraka to stir the soul—these films succeed because of their photographic prowess and a firm thematic direction. Tom Löwe (formerly the cinematographer that shot Visitors, with some experience behind Terrence Malick’s later works) attempted to create a stirring experience with a short piece called TimeScapes, stitched together from scenes shot all around the American Southwest. For a five-year period, Löwe embarked on a new project to piece together a new stirring experience with footage from around the world (shot in over 35 different countries). A film that promises to “awaken” your spirit.
As I noted with TimeScapes, I believe there is merit in art for art’s sake. I appreciated that film precisely because it was devoid of theme or meaning—the stunning landscapes alone had me enamored. Awaken is more of the same, but it expands the scope to include many scenes with exotic-looking people. This includes a ballerina dancing on a prairie. A group of women with torches and wreaths moving through a forest. Men throwing fishing nets into water. All of that in smooth slow-motion, plus time-lapsed shots of mountains, cities, oceans, and clouds. There’s a prolonged shot of a dolphin leaping out of the sea in slow motion. A swimming elephant, shot from underneath. Trees and rocks beneath moving stars, so vividly captured that you can clearly see the Milky Way. Towards the middle, there’s a colorful festival with fantastic costumes, dances, and flying candle-lit lanterns. Holy crap, this might be one of the most stunning films I’ve laid eyes on. Liv Tyler lends her voice to provide a few words of poetry (although it remains rather vague).
The question remains, of course, what is the point? I really want to say it’s fine to not have a point, as I felt with TimeScapes. The problem is, Awaken probably needs a point since so they staged many shots with models doing very specific actions. Why watch scenes of dancers, torch girls, fishermen, and elephants for 74 minutes? It’s one thing to appreciate the world’s unassuming beauty, but it’s another to select specific images and string them together. Alas, this film seems to have picked totally random scenes with no clear connective tissue. The issue is further convoluted since the film repeats all its key shots towards the end, serving as a coda before the credits. If the intent is on humanity, technology, nature, or other broad themes, the scenes aren’t really pointed enough to elicit deep thoughts.
As a fan of these types of films, however, I give this one much credit for the sheer quality of its photography, which is consistently beautiful to behold. Joseph Trapanese’s score is mesmerizing and sensuous, and it goes a long way to adding a more emotional tone to the imagery. Take it in as an audio-visual meditation experience, and I found it hypnotic, tranquil, and pleasant. In some scenes, it aims to be uplifting and motivational. On these surface-level merits, I find enough to admire, but there’s always a chance the mind will make its own meaning out of what’s shown.
Ironically, Awaken may put casual audiences to sleep with its frequent slow-motion and repeated shots. It may also dazzle with its sumptuous cinematography, and the music is a work of art on its own. I can’t really recommend it unless you’re already familiar with Tom Löwe, his producers (Terrence Malick and Godfrey Reggio), or Ron Fricke. Even then, it’s a little hard to grasp meaning out of what’s shown. But then, approaching it with an empty mind might be the best approach, and you might find at least some appreciation for such an ambitious project.
A grave injustice was done four years ago. Perhaps it was desperation, greed, or just plain incompetence, but in delivering an epic superhero mash-up to rival the Marvel Cinematic Universe, Warner Brothers whipped together Justice League with haphazard results. Zack Snyder finished the work already, having filmed hours of content that merely needed editing and polish. Unfortunately, he had to step away from post-production when his daughter passed away. Warner Bros reeled in Joss Wheadon, and for reasons that I will probably never fathom, he reshot a number of scenes, swapping out Snyder’s gravitas for quippy banter nobody asked for. Epic scenes were replaced with bland, talky scenes that felt more at home in soap operas or sitcoms. And all of this was mashed together between the bloated action scenes, leaving hardly any room for story beats, emotional payoffs, or any kind of nuance. Unsurprisingly, the film flopped. But the reasons were so transparent that fans petitioned for a real director’s cut to be assembled. Despite the cost involved, Warner Bros surprisingly obliged and let Snyder return to finish what he started.
Zack Snyder’s Justice League follows the events of Man of Steel and Batman vs Superman: Dawn of Justice, and naturally the three together comprise a face-melting trilogy. With Kal-El’s demise in the previous film, mysterious artifacts suddenly awaken around the world, and a menacing tyrant from another world seeks them out. When the forces of Themyscira and Atlantis fail to stop Steppenwolf, Batman (Ben Affleck) and Wonder Woman (Gal Gadot) team up with Aquaman (Jason Mamoa), Cyborg (Ray Fisher) and the Flash (Ezra Miller) to analyze the threat they face and find a way to save the world.
Sure, this is the same plot as the 2017 cut, but this sucker is almost four hours long, split up into six bite-sized parts as a miniseries format. Even though all the big-scale setpieces remain, they are spaced out with substantial breathing room to permit longer, better scenes. We’re finally given a proper understanding of Cyborg’s character—where he came from, why he despises his father, and we’re ultimately given a stronger avenue to care and root for him. Aquaman is treated with greater earnestness, and I appreciate the scenes that foreshadow his own stand-alone movie from 2018. Steppenwolf is given a make-over, visually for one, and with just enough dialogue to give him a better motivation, which elevates him a grade more. However, it’s the appearance of Darkseid—a bigger, more menacing antagonist who wasn’t even in the original cut--who will elicit more chills. The mythology behind the Mother Boxes seems so much more interesting--maybe because it feels less rushed, and they feel like threats more than McGuffins (and this is probably because their use is actually entwined with the plot and characters better). There are probably hundreds of other smaller details that unifies the movie and aligns it with the other DCEU properties (including a reappearance of Jared Leto as the Joker, Eisenberg’s return as Lex Luthor, a brief glimpse of Deadshot, a better representation of a Green Lantern dude).
What impresses me the most, however, is that the film is structured in a way that makes more sense. It’s clear that the 2017 cut shuffled many of the same scenes in a nonsensical way and tried to smoothen it out with extra dialogue. In Snyder’s cut, every character is given their own spotlight, and they are developed sufficiently before moving onto the major turning points and big-scale action scenes. Despite some exposition, most of the story is delivered with visually striking scenes that show more and tell less--the exact opposite of the older cut, and hot dang it works. Nothing feels rushed, and somehow very little feels extraneous.
All that being said, if you hated Zack Snyder’s work before, this film will not change your mind at all. His excesses are still highly evident--the film is loaded with slow-motion, disaster porn, CGI, and brooding. The entire film is given a dark veneer that paints every scene in black, brown, gray, and bronze--the exact opposite of Wheadon’s candy-colored treatment. It’s also head-scratching that this was all finished in a square 1.33:1 aspect ratio. Compared to other Snyder films, however, I believe this one is much more palatable, with a steady camera. Composition and angles are often quite striking, and it captures the locations, props, and costumes with remarkable detail. Special effects paint most scenes with fantastic results--it’s not the best CGI ever, but it’s a vast improvement from before and it looks awesome to my eyes. One of the greatest improvements is with the music score--Tom Holkenborg (aka JXL) brings back the themes that Hans Zimmer originally spearheaded, and they add a lot of awesome-sounding guitars. However, it adds a lot more emotion and changes the dynamic of all scenes (especially the action scenes), and it goes a long way in delivering a punchier experience.
Performances remain the same as before, but with far less jokiness and hokeyness. Ben Affleck is still quite the intimidating presence as Batman. I’m a little more awed by Ray Fisher’s role. A little less impressed by Gadot—she still looks great in action, but her line delivery leaves something to be desired. Jason Momoa exudes machoism and gravitas--his role seems stiff here, but at least he’s not saying stuff like “ah-right!” again. I never had a problem with Miller’s Flash, but I know many viewers find his humorous take annoying—little has changed between the two cuts. I’m still impressed by Henry Cavill’s take on Superman. A plethora of other stars—Jeremy Irons, JK Simmons, Amy Adams, Diane Lane, Willem Dafoe, Leto and Eisenberg—round off this huge cast with admirable talent.
Despite the sheer length of the film, its strengths became apparent to me when I considered the epic setpieces that were coming (such as the bank robbery scenes, the big fight under Gotham Harbor, the resurrection of Superman, the climactic fight) and knew that this film would not whiz through each of them the same way the 2017 cut did. Space between the action matters, and Snyder’s completed cut represents the story as it should be told—with attention given to setting up the characters, the stakes, the mythology, and the reasons behind the spectacle. Few years ago, it seemed like Warner Bros and Wheadon were solely interested in the spectacle—it’s meaningless without the right setup. It ticks me off the more I think about it because, in a hundred years of cinema, you’d think studios would understand how films fail when they’re sliced and diced too much. This kind of nonsense ruined Suicide Squad (not to mention non-DC films like X-Men Origins: Wolverine, Spider-Man 3, 2015’s Fantastic Four). This somewhat mirrors the situation decades ago with Superman II, in which Richard Lester finished Richard Donner’s film with way too much comedy and cheese. Some time later, the Donner cut showed us the vision that could have been (imperfect of course, but still fascinating and arguably improved). In the modern age, we have the good fortune to see Zack Snyder’s vision for Justice League in good quality--a far better experience than the unjustly butchered version previously released to theaters. Some things can never be changed or fixed about it, but it at least feels coherent, complete, satisfying...and immensely epic.
You'd think that during a global pandemic, with order to stay at home, I'd have found enough time to listen to all the albums. I made a good effort at times, but I wish I could have made time for more newer releases. As it is right now, I'm barely familiar with the many albums I've collected--but it doesn't help that most of them are soundtracks and scores, and I'm not always in the mood for them.
Surprisingly, I have found myself slightly more enamored by modern pop music--specifically, select singles I've heard on the radio from Dua Lipa, Lady Gaga, Ariana Grande, Doja Cat, Harry Styles, and a few others. I found this line-up rather appealing, although most of these songs are going on one or two years old now--Dua Lipa's Future Nostalgia is the newest one I've heard that I enjoyed the most. I have no qualms about Gaga's Chromatica either though, and I was quite pleased to see some new material coming from Groove Armada.
I've seen some hype around Fiona Apple's Fetch the Bolt Cutters. I gave it a spin, and...I was not a fan. It came off as inharmonic and messy to my ears. It could be that I'm missing something with this one, seeing as it's garnered much praise from music fans--chances are I could listen to it again and something might click. For now though, I can only chalk it up as the one I find most elusive this year.
As usual, I have gravitated towards some new rock and metal. They've been fair efforts--little that outright blew me away, but some of it is quite enjoyable and invigorating. Can't say the new stuff from older acts (like AC/DC, Ozzy Osbourne, and Pearl Jam) have enticed me that much, but Static-X is back, loud and powerful as ever. New pirate metal from Alestorm is good for a brief laugh (and it helps that their work has fun melodies). Apocalyptica's latest brand of cello-infused metal is an easy recommendation.
On top of that, I've dabbled a bit with chap-hop (hip-hop with British accents and very polite lyrics? How quaint). Did listen to Eminem's album, just because, and although I found it catchy, it was oddly unmemorable. There are some other random things I've heard, but in the end, it's mostly movie and game soundtracks that have impressed me the most. Scores for things like Tenet, Guns Akimbo, Cyberpunk 2077, The Last of Us Part II, Cloudpunk, The Witcher, are all pretty decent. In fact, one of my biggest disappointments is that Doom Eternal's score never got an official release (and probably never will because id messed something up with the mix, to the point where Mick Gordon quit--wtf people?).
I'm pretty sure I have 2020 music lying around that's begging for a chance to be evaluated deeper. There are a few I just haven't gotten around to (like the latest Richard Cheese album, Metallica's S&M2, Seether's Si Vis Pacem, Para Bellum, and the film scores for Antebellum, Onward, Birds of Prey, Mank--I'll get to them all someday). I fear I might not have given them a big enough chance to let their hooks sink in. I have done some last-minute catching up, and I feel confident in these rankings.
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39: Pearl Jam - Gigaton
This is one of those albums where I didn't see much wrong with it in the moment I was listening to it. Taking a step back though, and I found virtually nothing memorable about it. The overall sound had a tiresome quality that made me miss the energy and spirit of their 90s works. There is a chance something will click more on a repeat listen, but for now it only elicits a "meh" from me.
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38: Poliça - When We Stay Alive
First of many mixed bags here. Some of these tracks I find uncanny, thanks to the slow (but strong) beats, haunting vocals, and atmospheric synths. Where the album loses me is with the more upbeat songs, which come off as soft and saccharine to my ears.
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37: Surfaces - Where The Light Is
This album is harmless. Pleasant. In fact...I find it too pleasant. Can't fault the music itself, it's a rather competent and uplifting blend of genres, which will elicit feel-good vibes. The thing is, I find the overall sound a little too light, bubbly, and saccharine for my tastes.
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36: Eminem - Music To Be Murdered By
Like any rap act, I find myself enamored mostly by the beats. They are quite strong with Eminem's latest work, but I struggle to find much else to latch onto here. Can't fault the dude's vocal acumen, but when it comes to melodies, hooks, and variance, I feel it comes up short and most of this music flows through my head with little impact. It's a shame, because the Hitchcock references are cute.
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35: Nine Inch Nails - Ghosts V: Together
Pretty happy that Trent Reznor managed to pump out some more chapters to his instrumental series of albums (and for a time, they were FREE at NIN's website). Still though...I find these latest efforts a little underwhelming. At first, I was a little let down that these new Ghosts albums were strictly ambient and have little-to-no metal aspects to them. Still, listening to them even with the mindset for ambience, I found part V a little too weird for my liking. I suspect because it's just too dang happy. I'm sure it's meant to counterbalance the darker tone of album VI, but what kills this for me is the sheer lack of variance. It's airy, fluffy piano and droning sounds for a solid 40 minutes--you know, stuff that makes for good filler on any other NIN album, but it gets droll fast listening to this much of it all at once.
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34: Various Artists - Cyberpunk 2077: Radio
There are four volumes of this noise. I own three of them and have listened to them. Of these, I value the first the most, and the others sounded like more of the same. I prefer to group them together all in one go here since the quality is consistent (or at least consistent in being inconsistent).
These soundtracks are a mixed bag, even though it might sound cool when you're playing the game. Between the rap, punk, and metal, the sheer amount of noise is aggravating, obnoxious, vulgar, and often times exhausting. Thankfully, there are a few cool gems to be found (couple of my favorites being "Kill Kill" and "Night City Aliens"). Different fans will probably find different gems of their own, but you may have to wade through some serious scum to find it.
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33: Nine Inch Nails - Ghosts VI: Locusts
Still a slow and moody listen, but I like Locusts a grade more for the subtle tension the tracks bring to the table. The tone is notably darker, and some tracks elicit a certain anxiety through simple composition (seriously, "The Cursed Clock" makes me feel like I have to do something, but I don't know what). There is a better pace to many tracks. I'd even say this is much more in-line with NIN's brand. A solid effort, but it's far from being a favorite.
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32: David Buckley - Unhinged Film Score
Pretty generic action-movie music. By nature of the film's exciting parts, the score more often throbs and blasts its orchestration at you, and it's not the best thing to listen to on its own. However, some of the tracks are fairly cool with the gritty atmosphere they project, and the music of the finale has a surprisingly emotional note to it. The best thing to the album, however, is the cover of "(Don't Fear) The Reaper" by Keep Shelly In Athens. A slow and even take on a classic song, but I appreciate the haunting vocals--it's going down as one of my new favorite versions of the song.
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31: Ozzy Osbourne - Ordinary Man
How is this guy still rocking?
Ordinary Man is extraordinarily eclectic, and as a result there's a half-good half-bad quality to this. Cherry-picking the good, I find that a few songs stood out to me that I don't mind playing on repeat and rocking out to (namely "All My Life," "Straight To Hell," "Goodbye," and "Scary Little Green Men"--the latter of which is easily the best). In these few, I can make out a certain power and uplifting quality to the vocals and the guitars. Everything else, however, comes off as noisy and odd--especially that track with Post Malone, which is noisy to the point of abominable.
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30: Fiona Apple - Fetch the Bolt Cutters
No doubt the artistic intention behind this album is strong. Even its title hints at a certain theme, which feels all the more relevant in a year where we've been encouraged to stay indoors and avoid social contact. As such, it seems as though the album bursts with energy, like somebody must have fetched some bolt cutters and opened up a door of sound.
The problem is, I hear a lot of mis-matching noise, partly in the bizarre way it marries instruments, partly in the way the notes fly from high to low so rapidly, and the way it bumps different vibes from one bar to the next. And...are those dogs barking? I'd call it pure noise if it wasn't for the occasionally catchy chorus or refrain, or the quieter moments that invoke a deeper sense of jazzy coolness. It's ultimately a kind of avant-garde quality that many music lovers will find adorable, but I find it largely head-scratching. My opinion could change in time, but for now I find it garish.
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29: Sonya Belousova and Giona Ostinelli - The Witcher Score
To be perfectly honest, I love the "Toss A Coin To Your Witcher" song and it's been stuck in my head all year. The score deserves a listen for that alone.
The actual orchestral score is rather mixed. There are tracks I adore, invoking the perfect dark fantasy atmosphere through traditional instruments. But the tone does go all over the place--brooding, noisy, and mean one track, folky and overly-happy the next. A better balance is found in the best tracks, but with 55 of them on this release, it's quite a fair value.
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28: Moby - All Visible Objects
Much more beat and energy to this than last year's album. With it, there's a little more noise--some of which is irritating (especially in a song like "Power Is Taken," it sounds like an alarm is going off and I hate it). Fortunately, there are some good bursts of cool-sounding beats, synths, and air pads. It's a fair collection of tracks that will both relax and energize you, but I'm not as enamored by these sounds as I am with Moby's earlier albums (especially last year's, which was pretty smooth).
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27: Various Artists - Bill & Ted Face the Music Soundtrack
Like most other soundtracks, this will be a mixed grab-bag of songs--some will be good, some won't be. There are some tracks here I can take or leave, but I am very enamored by the two tracks from Big Black Delta--the sheer power of those guitars are impressive. Other songs seem to stretch across the vast breadth of the rock genre, offering some hard and fast aggressiveness as well as more saccharine bops. What I love the most, however, is that they've included the actual Wyld Stallyns song from the movie, "That Which Binds Us Through Time: The Chemical, Physical And Biological Nature Of Love; An Exploration Of The Meaning Of Meaning, Part 1." It is just as indulgent as the title is, and that's the point of the joke. Listening to this track on its own...it's surprisingly solid, even when it clearly stretches itself too far and becomes overly-noisy. Way too much thought was put into that joke, but I appreciate it.
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26: Groove Armada - Edge of the Horizon
Continuing the new wave vibe GA previously invested in with the White Light and Black Light releases (wait, those are ten years old already?), Edge of the Horizon sounds like the kind of thing you'd hear at an 80s dancehall. The beats are strong as ever, and the compositions bear a consistently upbeat vibe that project positive vibes. Can't say I'm a huge fan of the lyric quality, of the sound overall, but in the right mood I'll find it agreeable. "Get Out On The Dancefloor" is a solid dance track I've replayed quite often, and something about it makes me nostalgic for the dance songs I loved as a kid--so there's that.
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25: Professor Elemental and Mr. Frisbee - Let's Get Messy
So, this is chap-hop. Wasn't prepared for all the jazzy and soulful samples in the background, but there is an upbeat groove to this I can appreciate. Lyrics are quite clever and surprisingly pleasant. Some of these songs are pretty catchy and I found them amusing for a short while. Not sure if this will have a lasting impact, but I am curious to hear more from these chaps.
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24: Trent Reznor and Jon Batiste - Soul Film Soundtrack
I'm still surprised they wrangled in Trent Reznor to do a Pixar movie's soundtrack--or at least half of it. The movie itself demanded more jazz, and Jon Batiste delivers some quality grooves that fit the movie well, and aren't too shabby to hear on their own. Reznor's contributions add fascinating atmosphere to the movie's astral segments, which is also fitting. The soundtrack altogether is a fine and calming experience, even if it is a little short.
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23: Lady Gaga - Chromatica
The sci-fi image projected from the album cover had me sold to start with. The actual songs aren't too shabby either though--I love the steady beats, the catchiness of the melodies, and the overall quality of the production. Not sure if I'll remember these songs as strongly as her other hits, but it's a solid listen all the way through with little filler and a lot of energy.
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22: Harry Chrichtley - Cloudpunk Score
This was exactly what I expected (and wanted)--a futuristic score heavy on the synths and atmosphere, perfectly matching the high-tech cityscapes of the game. It's a smooth combination of beat, orchestral swells, and melody. It's just good, plain and simple--a perfect score for passive listening, or for an active appreciation of the mood it aims for.
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21: Colin Stetson - Color Out Of Space Score
It takes a lot for me to appreciate a horror movie score, and I'm quite pleased to find that Colin Stetson injected the right tone, atmosphere, and style of sound for the Color Out Of Space film. It's uncanny and wild when it needs to be, but the softer moments are beautiful. The combined experience of the music offers a small wealth of wonder and terror, and I'm moderately impressed by it.
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20: Ist Ist - Architecture
A friend from a forum had posted some songs from this album, and I took a liking to them. The instruments bear a kind of new wave vibe, but with a heaviness and brooding quality that invokes a greater sense of power and mood. My favorite songs in particular boast some riffs I find quite catchy and admirable. It reminds me quite a bit of She Wants Revenge, right down to the deep, echo-y vocals. Few tracks I'm still not sure about, but there is a good chance this band has a new fan.
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19: AC/DC - Power Up
It's...good rock music, plain and simple. Even after all these years (and after tragically losing one of their own), AC/DC's sound remains consistent and strong as ever. It just brims with energy, and it's unified aptly through the guitars and vocal power. Can't say this is as good or any better than the classics, but it's, simply, good.
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18: Alestorm - Curse of the Crystal Coconut
I'll take another round of Alestorm pirate metal about as easily as I'd take another swig of rum. Their latest album presents the same old shenanigans, but the melodies are catchy and the music rocks hard as ever. Goofy lyrics, raw punkish lyrics, and a touch of old-timey instruments makes it consistently fun and irreverent, and thus an enjoyable listen.
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17: Powerman 5000 - The Noble Rot
I've become quite fond of Spider One's brand of sci-fi-themed metal. His latest album has a darker vibe to it--it seems a little restrained and slow compared to his best works, but I still find most of these songs catchy and cool. I'm quite enamored with the beat, guitars, and vocals--I find it punchy and cool.
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16: Marcin Przybylowicz, P.T. Adamczyk and Paul Leonard-Morgan - Cyberpunk 2077 Score
As novel as it is to own the radio songs from the video game, it's Cyberpunk 2077's score that impresses the most musically. The three composers weave an eerie electronic atmosphere for the game, offering beat and high tempo when the action-heavy segments demand, but also ambience for the slower parts. Hearing the music on its own is bleak and haunting--a perfect score for an otherwise bleak and haunting future.
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15: Green Carnation - Leaves of Yesteryear
I took a chance on this five-track album, having never heard of this band before, and was pleasantly surprised by the sheer scope and depth of it. It's every bit as sophisticated and complex as bands like Tool, but with a mood and style that feels somewhat closer to Anathema. The guitars rumble impressively, but the lyrics and vocals remain clear and compelling. This might be a new favorite, and I'm curious to dig up more of this group's work.
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14: Delain - Apocalypse & Chill
As usual with these symphonic metal albums, there's equal parts power to the vocals and the guitars, and it's fairly impressive in Delain's latest album. It sways from aggression to more delicate tones with a sweeping sense of grandeur and awe--and with hooks I find catchy and pleasant. With hardly any filler, this is a solid album with some serious power--it might be one of the best the band's done yet.
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13: Nightwish - Human. :||: Nature.
I wasn't that impressed on the first listen, but giving it another chance, I now see that this album is a worthy follow-up to Nighwish's ongoing run of post-Tarja albums (and I believe it's an impressive run). The sound is as epic as ever with the sublime combination of guitars and choirs, but there is a rustic quality to the songs that invoke Earthly themes, and it's quite a punchy sound. There are only a couple of tracks I don't care for, but the bulk of the album is rock-solid.
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12: Static-X: Project Regeneration Volume 1
Wayne Static may have tragically passed away several years ago, but his voice still growls strongly through this album--pieced together with Wayne's last recordings. The result is just as strong as the albums from the band's glory days--it's dark and loud, but the repetition and catchiness of the melodies leave a haunting impression. I find it invigorating, but it's especially gut-wrenching to know that this is an actual regeneration of music from a talent that's no longer with us.
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11: Stephen Barton - Watch Dogs: Legion Score
This soundtrack is simply cool. The way it marries beat, guitars, and electronic sounds together with a sense of mystique and futurism is pretty sublime. It helps that the tracks have catchy elements. Most of this can be listened to for a soothing ambience, but even the action-heavy sections achieve a balance that isn't too unbearable to hear. I simply love the style of sound this album exudes.
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10: Darren Korb - Hades Score
Like it is with the 300 film score or the score for Assassin's Creed: Odyssey, this one is an attempt to balance the old-world ambience of ancient Greece with a more modern flair. I'm not sure I like this any better than the afore-mentioned soundtracks, but it is a pleasant listen even with the occasional burst of modern guitars. I find the traditional instruments pleasing, but the beat and anachronistic elements give it energy, mood, grit, and perhaps a little emotion too. Who'd have thought that music from Hades could sound pretty cool?
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09: Enis Rotthoff - Guns Akimbo Film Score
It's actually pretty interesting that they pulled a trendy German composer to score this insane action film. It's a good fit given the focus on the electronic. The beats are good, the sounds are hip, and it exudes an even-keeled level of energy and playfulness. Married with the film, it's pretty slick--on its own, it's like a modern EDM anthem. I think it's cool.
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08: Gustavo Santaolalla and Mac Quayle - The Last Of Us Part II Score
If it's one thing that can be most admired about this video game, it's the music. Gustavo Santaolalla reliably delivers the most invoking and emotional touch to his guitar pieces, and they remain the highlights of the music score. Mac Quayle's contributions are more conventional--his tracks are throbbing pulses of intense noise or droning sounds that accompany the game's tensest setpieces. Can't say the tenser tracks are that pleasant to hear on their own, but the score is a decent piece of art on its own accord thanks to the atmosphere and emotions both artists contribute.
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07: Ludwig Göransson - Tenet Film Score
Well, at least you won't hear much of Hans Zimmer going BWAAAMMP.
The tone and style is similar to a typical Zimmer score, but Ludwig weaves his own unique mood as he playfully commands awesome-sounding guitars against dramatic orchestras. It's especially clever how so many sounds play backwards, mirroring the way the movie runs things backwards in its time-travelling concept. For all that goes, I've actually listened to this score backwards--I might be crazy, but much of it actually works when playing it in reverse. That alone leaves me awed, but even listening to it conventionally, I am very smitten by the themes, the atmosphere, and the style.
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06: Mick Gordon - Doom Eternal Score
Even though this was never officially released to the public, I'm still counting it...dammit. You can hear the whole thing on Youtube...or in the game itself.
The opening theme--the one that plays over the game's menu--is what really pushes this over the top for me. From that eerie, winding electronic whistle, the slow build up of the bass guitar, and the gentle roar of the electric, is enough to get the blood pumping. Then, after an unsettling pause, the guitar riffs explode furiously, and it floors me every time.
That's just the one track. Just like with the 2016 game, this whole soundtrack bleeds awesomeness through its incredible guitars, chopped-up beats, and hellish tones. Not only does it make the game's combat feel incredible, but as many Youtube memes show, it fits any badass thing. On its own, the soundtrack is quite a badass journey. I only wish I could own it officially.
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05: Klayton - The Dunes Film Score
It usually is the bad movies that have the most interesting film scores for some reason. The Dunes--not to be confused with the upcoming Villeneuve film--is a pretty bad psychological drama, but somehow they hired the Celldweller dude to score it, and the music is easily the film's best thing. Hearing it on its own, it serves as a rather decent ambient album, with maybe a few heavy bursts. It's a dark and brooding atmosphere, with subtle tension--maybe even more tension (and certainly more nuance) than the movie itself has. I find it compelling on its own, especially since it matches up perfectly with Klayton's other ambient works.
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04: Apocalyptica - Cell-0
Those four dudes from Finland are back with their cellos and electric guitars (and hey, as a guy of Finnish descent I have nothing but respect for this. Sure, Nightwish is good, but Apocalyptica has serious class). Cell-0 is probably one of the darkest albums I've heard from them--their opening track, "Ashes of the Modern World," is an especially explosive and mournful orchestration of noise that elicits chills. It might as well be the theme song for 2020. The rest of the album sways from super-heavy to brooding and ambient--both sides are often compelling, and I still find the fusion of cello (orchestra in general) and metal to be pretty sublime.
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03: Various Artists - Anjunadeep 11
This fine double album from Jody Wisternoff and James Grant offers a rather elegant selection of electronic dance, trance, and techno--the kind that sounds classy, pleasant, and uplifting, rather than the kind you just get high or drunk to and dance around like an idiot while watching pretty colors at a club. It's the tone, atmosphere, and vibes of this compilation I admire the most--it has a certain vibrancy that I find soothing, even with a higher tempo.
And this is the eleventh of a series? How have I never seen or heard of any of the others before. Well holy crap, I have some catching up to do!
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02: Dua Lipa - Future Nostalgia
It's been a long time since I've been impressed by a pop album. I feel fortunate to have discovered Dua Lipa while innocuously listening to the car radio--her hit single "Breaking My Heart" is strikingly catchy, and it's perfectly accentuated with a groovy disco beat. Most other tracks are just as cool, with most bearing equally catchy hooks and choruses, strong beats, and electronic flourishes that bear a slight retro charm. Despite one or two tracks I could take or leave, this is one of those albums consistent enough to hear beginning to end without the urge to skip a track. At its best though, I find most of these tunes soothing and cool. As the album title suggests, I might become nostalgic for this in the future, we'll see.
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01: Thievery Corporation - Symphonik
This is one of those bands that has done me no wrong by far. Even though this release offers no new material, I feel it wins 2020 by default of the band's reputation--hardly anything of theirs is bad. In fact, Symphonik thrills me with the prospect of revisiting old favorites in a new way.
As more orchestral versions, their songs are given the chance to show their lyrical and melodic charms stronger. It's especially heart-warming to hear the voices of LouLou Ghelichkhani, Shana Halligan, Natalia Clavier, and Elin Melgarejo, all of whom offer beauty and harmony to their respective songs--and they seem even more elegant when stripped down to bare beats, strings, and just a few taps of the keyboard. The hip-hop contributions by Mr. Lif and Puma are admirable and fit the multi-faceted brand of the group well. I wasn't quite sold on Frank Orrall's version of "Marching the Hate Machines," but on a second spin I realize there's a certain groove he achieves in his own right.
"Sweet Tides" is probably the song that wins me over the most, representing the most sublime fusion of beautiful orchestration and vocal quality (and it's such a damn nice song that oozes emotion, I can't help but to shed a tear and a smile). "Depth of My Soul" was always a moody favorite of mine, and it's wonderful to hear it anew. "Lebanese Blonde" and "Until the Morning" are downtempo classics at this point. But you really can't go wrong with any track on this album--like the rest of the band's work, it's all consistently soothing, cool, and vibrant. They've always had a knack for timbre--it's practically in their name, so branded because they literally "steal" styles from many genres and cultures. The sound is as groovy and wonderful as ever--Symphonik harmonizes the sound sublimely with lovely vocals and a classy presentation. It's easily the best album I've heard from 2020, and it'll likely be the one I'll listen to the most, in conjunction with the rest of their discography.
