MISSION STATEMENT
Open Music Industry Community aims to be Cranbrook’s one and only commercial music society. OPENMIC is its main magazine, putting up spotlights to artists and songs inside and outside of our school. As the name suggests, writing the content is open to anybody in our school in any form: interviews, articles, and many more. We’re eager to support them in any possible way we can.
OpenMIC will continue with biannual issues next school year.
OPENMIC SECOND ISSUE
An album is a journey. Each track is a unique story, the music its soul. A musical artist brings life to this journey through his/her own expressions, be it the instrumentation, the lyrics, the design.
Complying to conventions and boundaries is an easy path to completion, but not to artistry. Instead, an artist expands it—they mean to explore deeper into unknown ground, closer to their own meanings. They break rules almost as if it weren’t a thing. They dauntlessly blend and merge melodies and genres to invent something unheard of. They are willing, and are destined to do them, to eventually find themselves.
So they spend those seemingly unnecessary nights to produce the perfect beat, find the right sound, and create the fitting melody. That is the effort put into one song. An album is the accumulation of these songs, cut out and tailored, ordered into transition, presented in the form for us— the listener—to experience, feel and embrace a personal expression of another being.
This is why artists willingly make albums, to achieve an impossible feat of making others feel what they felt, to move the listener. This is also why I appreciate every song and album I get to listen to, trying to resonate, and live life through the view of another. Music has that power.
It is our pleasure to present OpenMIC #2.
2025.6.1
Editor Tim Han
HURRY UP TOMORROW by The Weeknd | Full Album Listening & Review - OpenMIC YouTube Channel
Expression may opinion,and therefore determination,along tiate a change.
Becoming afraid face—and ultimately—the brightness of switch up pendent
the dramatic grand
CRAZY
Pierrot
1-800-hot-n-fun
The intention of breaking into the international market is every k-pop group’s dream.LE SSERAFIM’s new album released onAugust 30th 2024. The first song that hit the market — Crazy,features a repeating beat,instantly capturing the audience’s attention.Moving away from the traditional chord + beat progression,they have gone fully into pure beats with a single line of melody.However,they contrast this monochromic hype song with a rock song — 1-800 hot-n-fun,and an EDM song — Pierrot,which features HuhYunjin’s opera skills she obtained from her time in Idol school.This album is a culmination of their work since their debut in 2022,and from their improvement in English,their diversity of genres,and even their stage confidence,this album is worth listening to for everyone.
Crazier
may be a risky action in itself.Being able to share an therefore form an identity of an individual requires such along with the certitude such that doing so would inichange.Getting famous somewhat bears the similar pressure. afraid of what others think are what people in fame always ultimately—the ability to overcome it determines the true of a star.For Gyujeong Park,his way of expression was to up his identity from a commercial pop producer to an indeelectronica artist.He has set another courageous step under dramatic sounds of buzzing synth and the beautiful harmony of a grand piano.IÖN isn’t simply just another persona of Gyujeong;it is ‘Savior’ to release his true self,and also the tight coalition of what messages he has to say to the world.
CÖURAGE
IÖN
ReleasedAug 31 2024 | byTim Han Tracklist
Dear I
Prism (still thinkin’ of you)
Dance First (La La La)
Fight For Nothing
Far from the Madding Crowd
play with earth!
0.03 wave to earth
Released Sep 6 2024 | byTim Han Tracklist
1. are you bored? 2. play with earth! 3. annie. 4. pueblo (remastered 2024)
While hyperpop,shoegaze and jersey club bangers dominated the industry over the summer,moods representing the exact opposite has also amassed quite the popularity,attracting listeners tired of partying.Ambient,laid-back guitar lines,soft drums,and the ticklish yet appealing vocals of Kim Daniel are what makes up this band, and are exactly the reason why it brings such uniqueness.The lyrics don’t seem to talk much seriously,conveying the simple yet positive message the band hopes to deliver to the listeners.Aside from all the obstacles in our lives,our lives are pretty much‘good’ in itself; staying where we are is satisfying enough.In the midst of a fastpaced world,this record will present a much-needed pause to your working day.
slow dive
holyland
May It Never Falter is the latest Midwest-emo/hyperpop installment fromAsh Blue Gutierrez,better known as glaive,and it marks a significant step in the right direction.It serves as a contemplative souvenir of reflection for Gutierrez following his trip to Iceland.Throughout the short 24-minute LP,Gutierrez showcases an incredible versatility in his production,ranging from the heavy bass room-shaking songs
“For God and Country,”“60.000 ISK,” and“Nobody’s Fault /Accept My Own” to soft,intricately written acoustic songs such as“joel,”
“Live & Direct,” and“By Birthright.” Gutierrez’s deep lyricism in May It Never Falter covers many sensitive topics,including suicide,grief and loss,past-relationships,and his sexuality and femininity as a bisexual man.His ability to mend soft melodies,devastating introspective lyrics, and aggressive production shows his capabilities as a songwriter, which will only continue to improve over time.
May It Never Falter glaive
Released Oct 11 2024 | by Eric Liu Tracklist
God and Country
Denzel Curry is back with a long-awaited sequel to itsVol.1 mixtape released back in 2012.This new record is nothing like‘Melt My Eyez SeeYour Future’;Denzel successfully reinstates himself as a hip-hop from the South,as the mixtape consists of explosive songs using multiple genres such as Memphis trap and Miami bass.Features fromA$AP Ferg,TiaCorine and Ski Mask the Slump God support banger tracks with aggressive rapping.Denzel’s raps playfully roams around the basic yet strong drums and bass.The latter tracks withTy Dolla $ign and Ke Nyata alters the mood to a more melodic tone,but again ends dynamically with‘Hit the Floor’ and‘Still in The Paint’,which are probably the songs with the most popularity. ‘Moshpit’ would be the one word to summarize this album overall.
Before John Summit arose as one of the brightest rising stars in the current EDM industry,his first full studio album envisioned his ambitions of encapsulating a unique world,a universe.Through the record,John Summit explores different parts of it through highs and lows of emotion. “Tears” features a melodramatic intro elevating to a full burst,and“Stay With Me” experiments with the aesthetics and sounds of a jungle.Accompanied again with HAYLA that collaborated‘WhereYouAre”,“Shiver” delivers the sensation of enlivening the senses,and the longing that this lasts forever.“EATTHE BASS” features a killing line of pulsating drums bass,perfect for a party.Famous for the stunning visuals presented during his set at Sphere LasVegas,“Go Back” presents his scintillating capabilities of bringing the tempo and tension to the utmost pinnacle,and masterfully orchestrating the drop and its aftermath.Amidst the seduction of heaven and the treacheries of hell,a figure solemnly positions his own place in the center:reaching epiphany and realizing the unity of life and death,day and night,black and white.
Comfort
In
Chaos
John Summit
Released July 12 2024 | byTim Han Tracklist
GNX Kendrick Lamar
Released Nov 22 2024 | by Tim Han Tracklist
1. wacced out murals
2. squabble up 3. luther
4. man at the garden
5. hey now (feat. Dody6)
6. reincarnated
7. tv off (feat. Lefty Gunplay)
8. dodger blue (feat. Wallie the Sensei, Siete7x & Roddy Ricch)
9. peekaboo (feat. AzChike)
10. heart pt. 6
11.gnx (feat.Hitta J3,YoungThreat & PeySoh) 12. gloria
If this year in music can be defined by one song, it would be Kendrick’s ‘Not Like Us’ produced by Mustard, as the Western ratchet diss track swept over the music industry. And yet he is back with another surprising full-length album, ‘GNX’. This out-of-nowhere release deviates from the discography of Kendrick so far; a bit more lighthearted, and to say, somewhat ‘commercial’. After the consecutive releases of ‘To Pimp a Butterfly’ and ‘DAMN.’, Kendrick became one of the most influential artists in music history, receiving great acclaim around the world. He received praises that brought him to another level above all others; loneliness and vanity may have followed in it. He leniently got over this pressure through ‘Mr. Morale and the Big Steppers’, talking about his roots like any other human being and stepping out of the shadows. After all, he’s just another rapper expressing through rhythm in poetry, sometimes dissing and making bangers; it’s just that he’s way too talented, he needs to level himself back to the ordinary.
FULL ALBUM REVIEWS
TELOS
SHORT N’ SWEET
BALLOONERISM
THE END OF GENESYS
Tyler, the Creator’s latest album, Chromakopia, is a vivid exploration of identity, family, and fame, marking his eighth studio project. Released on October 28, 2024, the album builds upon Tyler’s penchant for blending deeply personal themes with experimental production. Collaborating with a diverse mix of artists, including Daniel Caesar, GloRilla, and Santigold, Tyler demonstrates his ability to push musical boundaries while remaining introspective and authentic. The rollout for Chromakopia began with “St. Chroma,” featuring Daniel Caesar, released as a teaser and album opener. The track’s gospel-inspired production serves as a spiritual and emotional overture, framing the themes of love, identity, and reckoning that resonate throughout the album. This was followed by “Noid,” a pulsating single reflecting Tyler’s commentary on paranoia and fame. Sampling the Ngozi Family, Tyler imbues the track with the defiant energy of 1970s Zamrock, a genre known for its blend of psychedelia, funk, and traditional Zambian music. These early releases set the stage for an album that blends audacious creativity with vulnerability, proving that Tyler’s work consistently defies convention while drawing listeners into his world.
One of the album’s most touching moments comes in “Like Him,” featuring British singer Lola Young. The track delves into Tyler’s complex relationship with his mother and the absence of his father. With spare yet powerful piano arrangements and ethereal string overlays, Tyler crafts a space for deeply personal storytelling. Young’s hauntingly soulful vocals echo the emotional gravity of the narrative, capturing the tension between forgiveness and longing. This track stands as a meditation on identity and familial influence, portraying Tyler grappling with his mother’s vulnerability and his father’s absence. It’s both an homage to his resilience and a reckoning with the emotional scars left by unanswered questions about his father’s role in his life.
@jro__photo @feliciathegoat
The album features a stellar roster of collaborators, each adding distinct textures to Tyler’s sonic landscape. Teezo Touchdown lends his melancholy yet hopeful vocals to “Darling, I,” while GloRilla, Lil Wayne, and Sexyy Red bring bold energy to “Sticky,” a gritty track exploring the dualities of celebrity life. “Take Your Mask Off,” featuring Daniel Caesar and LaToiya Williams, strips down the façade of fame, urging authenticity through lush, orchestral production. Meanwhile, “Thought I Was Dead,” featuring Santigold and ScHoolboy Q, embodies themes of resilience and reinvention, merging haunting vocals with aggressive, industrial beats.
Fans of the artist had speculated about a potential Frank Ocean feature, sparked by online rumors before the release. Though absent, Tyler fills the void with his own vocal dynamism and a carefully curated lineup that ensures no track feels incomplete. The inclusion of Doechii on “Balloon” adds a whimsical yet profound layer, reflecting Tyler’s ability to seamlessly merge his personal narrative with guest contributions.
Chromakopia is a deeply thematic project, addressing Tyler’s familial relationships, his struggles with identity, and the pressures of fame. Central to the album is his exploration of his relationship with his mother, Bonita Smith, whose presence is felt throughout. Tracks like “Judge Judy” and “Tomorrow” explore societal judgment and the uncertainty of the future, while “I Hope You Find Your Way Home” closes the album on a note of reconciliation and self-discovery. Tyler’s production on the album is as nuanced as its themes. By incorporating influences like the Ngozi Family, he infuses tracks with a rebellious energy that underscores his introspection. From the stripped-down intimacy of “Like Him” to the audacious experimentation on “Sticky,” Tyler ensures every sonic choice enhances the narrative. His meticulous craftsmanship highlights his evolution from brash provocateur to reflective auteur.
1. St. Chroma (feat. Daniel Caesar)*
2. Rah Tah Tah
3. Noid*
4. Darling, I (feat. Teezo Touchdown)
5. Hey Jane
6. I Killed You (w/ Childish Gambino)
7. Judge Judy
8. Sticky (feat. GloRilla, Sexyy Red & Lil Wayne)
9. Take Your Mask Off (Ft. Daniel Caesar & LaToiya Williams)
10. Tomorrow
11. Thought I Was Dead (Ft. Santigold & ScHoolboy Q)*
12. Like Him (Ft. Lola Young)
Released 2024.10.28 Tyler, The Creator *single cuts
13. Balloon (feat. Doechii)
14. I Hope You Find Your Way Home
With Chromakopia, Tyler the Creator continues to redefine his artistry, blending deeply personal narratives with innovative production. The album stands as a testament to his growth—eschewing the personas of his earlier work for a voice that is more authentic and introspective. By weaving themes of family, identity, and fame into a cohesive sonic journey, Tyler invites listeners to witness his evolution and, perhaps, reflect on their own. In Chromakopia, Tyler once again proves why he remains one of contemporary music’s most compelling and fearless voices. From the aching vulnerability of “Like Him” to the unrelenting energy of “Sticky,” the album is a masterclass in storytelling and sound design, cementing Tyler’s place as a generational icon.
Review by Toluwani Adebayo
Released 2024.08.30
Zedd
1. Out of Time (feat. Bea Miller)*
2. Tangerine Rays (feat. Bea Miller, ellis)
3. Shanti (feat. Grey)
4. No Gravity (feat. Bava)
5. Sona (feat. ollam)
6. Lucky (feat. Remi Wolf)*
7. Dream Brother (feat. Jeff Buckley)
8. Descensus (feat. Dora Jar, Mesto)
9. Automatic Yes (feat. John Mayer)
10. 1685 (feat. Muse)
A ‘Timeless’ piece of art retains its value over decades and centuries. They keep their own uniqueness, neither conforming to trends nor other opinions; they’re a culmination of works that come straight from the creator’s heart. However, a fast-paced world does not give spare time for one to heed only to what the inner mind intends. Works of uniqueness and originality therefore take a lot of time, effort and composure to be fully presented to the world. Against the pressure and over nine years, Zedd has come back with his long-awaited, 3rd fulllength set.
A serene orchestra of strings and bells mark the beginning of the album. ‘Out of Time’ features Bea Miller, a perfect vocal for the grand start; it does not take a long time to get to the climax of the song, intricately foreshadowing the sounds that would be mainly explored throughout. The stellar ambience directly transitions to ‘Tangerine Rays’, the second track. Synths ‘burst’ into fruition on Zedd’s signature, funky chorus, along
*single cuts
with the bright, tangy vocals of Miller. Another transition indicates a slight mood change, visualizing the Middle East. The echoey bells eventually turn into a grandiose chorus, yelling out an Arabian ritual. The climactic beat drops enable the listener to imagine a tempest rampaging through a desert. The next track calms down the hype, introduced by a toned-down melodyline. ‘No Gravity’ keeps the overall noise low-brow, yet maintains the echo to express a soft and spacey ambience.
“I’m
dreaming ‘bout a million miles away, you next to me, no stress for me, No Gravity.”
An abrupt synth breaks the serenity, presenting an eccentric 7/8 time signature. This extremely risky yet insightful beat choice makes it a hard time for the listener to nod their heads in the first listen, yet intrigues them by the usage of flutes and instruments that are not commonly seen. A dramatic comeback to the original
time signature leads to the next number ‘Lucky’ featured by Remi Wolf. This short, yet most positive track works as a delightful freshener to the ears, and also the end of the first section of the record. The following track is a house remix of Jeff Buckley’s ‘Dream Brother’ released in 1994. The unique guitar line is well-preserved throughout the whole song in tribute to the generational singer-songwriter. This dystopian twist of this track puts a halt to the previous atmosphere, earning the listener’s sheer focus once more. Just as the name suggests, the next track ‘Descensus’ drags away the remaining sanity this record seemed to retain. Along with the ripping synth, the track expresses the dreadful yet desperate plea of staying by one’s side as the remnants burn down to ashes. A bouncy, vibraphone-like beat jumps around ‘Automatic Yes’ featured by ‘master’ John Mayer, all for the grand finale of ‘1685’, a retrospective track inspired from Johann Sebastian Bach’s Prelude C Major also with the vocal features of the legendary band Muse. A concluding movement of an orchestra after the long pause—as ‘bonus tracks’ were a thing back in LPs— marks the end of the unique journey.
An outbreak of a global pandemic slowed down the speed of the world. For the genre of EDM, parties closed down and festivals halted hosting; the downfall almost seemed like the very end of its culture. Despite the odds, Zedd did not view this as a drawback at all, but rather a chance to focus on himself and what he truly craves to explore. Switching off the outer stress, he had the opportunity to get extremely personal, oriented just for his own artistic fulfillments and intentions. Even Zedd himself was not sure if he would be able to finish this large scale of a record, as he says in the AP interview. His attempt of recreating what he was able to feel when he got inspired by multiple artists and melodies throughout his career wasn’t an easy feat. This is where artists such as Jeff Buckley (may he rest in peace), Muse and John Mayer come in to play in some tracks of ‘Telos’ and shine amongst the music near perfection. Breaking through previous precedents, maybe Zedd has indeed reached his goal throughout nearly a decade; he may have created a ‘Timeless’ EDM album.
Review by Tim Han
Zedd performs ‘Automatic Yes’ at the 2025 Coachella Valley Music & Arts Festival with John Mayer. | Source: Rolling Stone
With 6 Grammy nominations, it appears to be pop star Sabrina Carpenter’s breakout year. Among ination for “Best New Artist,” ironic considering 2024 is far from the first glimpse of fame with five previously released studio albums. Preceded by two Billboard Global #1 singles, her fifth studio album, Short ‘n Sweet. Yet despite her proven talent and experience, Short ‘n Sweet is a step podge of incomplete songs that fail to properly represent Carpenter’s capabilities as an artist.
The album starts on a promising note, opening with “Taste,” one of its rare highlights. The track is refreshing it introduces a theme that dominates the rest of the album: intimacy. But “Taste” also reveals one of the fundamental underscoring the entire record: straightforward, and often bland, lyricism, obscuring Short ‘n Sweet within the pop clichés. Carpenter introduces an ex-boyfriend and his new love interest, who can ‘have him if [she] likes.’ the sentiment and lyrical concept is unique and relatable, poor lyricism causes much of the song to fall flat.
The following track, “Please Please Please,” one of the singles to antedate the release of the album, offers a dreamy electric guitar melody encompassing in well-rounded synth pop, a style well-executed by the song’s producer Jack Antonoff. The chorus also showcases Carpenter’s impressive and wide vocal range. Carpenter delivers some of the cleverest lyrics from the album: “I heard that you’re an actor, so act like a stand-up guy / Whatever devil’s inside you, don’t let him out tonight.” Tying all of these elements together, Carpenter and Antonoff deliver perhaps the most complete offering of the album.
Among these accolades is her nomfame for the ex-Disney Channel star singles, expectations rang sky high for step backwards—a lazy hodgerefreshing and stylish, and fundamental issues the midst of likes.’ While
Sabrina Carpenter
6th
Studio Album
Carpenter’s momentum continues into “Good Graces,” a stunningly produced song that is irresistibly danceable enough to distract from mediocre lyricism. The song is reminiscent of recent pop sensations such as Newjeans, PinkPantheress, and other artists who have successfully integrated electronic subgenres into popular music.
Carpenter follows “Good Graces” with the ballad-like “Sharpest Tool,” containing elegant melodies but weighed down by emotionless lyrics that fail to connect. It marks a turn for the worst in the record, with the following songs attempting to blend genres in a shallow manner. Tracks like “Coincidence,” “Dumb & Poetic,” and “Slim Pickins” unsuccessfully attempt to mix Americana and Country themes into Carpenter’s soulless pop themes, coming across as a forced integration rather than innovative songwriting. Furthermore, the album’s lead single, “Espresso,” reveals a larger issue with the record: lazy production. Containing multiple samples from the site Splice looped over each other with minimal originality, “Espresso” quite literally epitomizes a drag-and-drop pop song, and it is supported by lyrics written with incoherent gibberish.
Yet despite these pitfalls, Carpenter consistently shows flashes of potential throughout the record. “Bed Chem” and “Juno” cleverly play on sexual innuendos in a creative way without veering into overt eroticism. Lyrics such as “come right on me, I mean camaraderie” and “where art thou? Why not uponeth me?” remind the audience of the artistry she is capable of, even if the album falls short.
Short ‘n Sweet ultimately disappoints and deviates from the precedent set by Carpenter’s previous albums, such as emails I can’t send. It is a disappointing chapter in what has otherwise been an illustrious career for Carpenter. While her vocal talent and occasional lyrical cheekiness is apparent,
Short ‘n Sweet ultimately relies too heavily on clichés and poor production. Her journey is far from over, shown by her flashes of brilliance on the record. For now, Short ‘n Sweet continues to climb charts and become nominated for awards, showing that, perhaps the goal has always been to produce a commercially successful pop album, albeit not a good one.
Review by Eric Liu
1. Taste*
2. Please Please Please*
3. Good Graces
4. Sharpest Tool
5. Coincidence
6. Bed Chem
7. Espresso*
8. Dumb & Poetic
9. Slim Pickins
10. Juno
11. Lie To Girls
12. Don’t Smile
Released 2024.08.23 Sabrina Carpenter *single cuts
1. Tambourine Dream
2. DJ’s Chord Organ (Ft. SZA) 3. Do You Have A Destination
5 Dollar Pony Rides*
Friendly Hallucinations
Mrs. Deborah Downer
Stoned
Shangri-La
Funny Papers
Excelsior
Transformations (Ft. Delusional Thomas)
Manakins 13. Rick’s Piano
Tomorrow Will Never Know
Since the tragic passing in 2018, Mac Miller has released his second posthumous album five years after his first “Circles”. This record is known that he has worked on it between 2013 and 2014, during the release of his mixtape “Faces”. Features by SZA and his alter ego Delusional Thomas are seen. The long-anticipated album released amidst the worries that it might not show Mac’s true intentions.
‘Balloonerism’ represents the subconscious drift through Malcolm’s world at the time—an exploration of the emptiness lurking beneath his popular, hit-making persona. It reflects the hidden depths of his mind, deliberately obscured in the mixtape ‘Faces’. The listening experience brings gloomy, dreamy neo-soul productions filling the balloon, lifting it to a high altitude that’s sustained throughout the record. ‘DJ’s Chord Organ’ featuring SZA offers a sneak peek of ‘old SZA’, before the eras of SOS or LANA. Echoing chord organs set the tone. ‘Friendly Hallucinations’ conveys murky and lyrical daily conversations, yet begging for authenticity in love. It almost hypnotizes the listeners to the very end of the track. Mac’s nihilistic outlook of the world back then is openly expressed in ‘Mrs. Deborah Downer, where he calmly explains the inability to find destinations in life. Seemingly lighthearted piano notes lie under the clean and familiar boombap drumline in ‘Funny Papers’.
Poster of ‘Balloonerism’, a film based on the album by Mac Miller. Source: The Mac Miller Memoir.
Larry Fisherman (Mac’s producer alter-ego), Thundercat and Taylor Graves are both commonly credited throughout the record. Taylor Graves’ production and Thundercat’s basslines are heavy as the mood of the album.
Compared to his different works at the time, “Balloonerism” embraces a completely different point of view, going straight-up alternative and also being very subtle in terms of production and rap design. These elements in the record unexpectedly allign very well with his more recent discography, ‘Swimming’ and ‘Circles’. Finishing off the record, Mac questions to the world: What is there to escape from? What lies beyond the pursuit?
As the last track ‘Tomorrow Will Never Know’ ends in such a dark, pessimistic tone, it is yet unclear if he has chosen continuation or resignation in this journey. This may be Malcolm’s last farewell that he has to offer to the world, or a brief interval to another chapter—time and respect is what will uncover its reality.
Article by Tim Han
In memory of Malcolm James McCormick. May he rest in peace.
Released 2025.05.23
1. Lucente
2. Voices In My Head*
3. Hypnotized (feat. Ellie Goulding)*
4. Taratata (with Grimes)
5. Neverland (From Japan)*
6. Fortuna (feat. Sevdaliza)
7. Atmosphere
8. Work (feat. Yeat)*
9. The End Of Genesys
10. Leave A Mark
11. In My Mind
12. Entropy (feat. FKNSYD)
13. Angel In The Dark*
14. Human Now (feat. Luke Steele)
15. Joke’s On You (feat. 070 Shake)
What is the most advanced, state-of-the-art frontier of technology in music performance as of now? It may be the shows of Anyma, a hybrid persona that hovers among imaginary and real worlds. As part of the Italian electronica duo ‘Tale Of Us’, Matteo Milleri has developed this solo project that seeks to render a utopian universe, presenting connection between humanity and technology. His projects so far has released as albums named ‘Genesys’ and ‘Genesys II’, symbolizing new creations through progressive electronica sound. The projects showcase his expansive spectrum of music, which scintillates along with the stunning graphics of Alessio de Vecchi featuring a humanoid named ‘Eva’ and her journeys to become human. Anyma’s one-of-a-kind vision is moving millions of electronic music fans and the world, especially from the stunning experience he has provided during his residency in Sphere Las Vegas earlier this year. Electronic music may be on the verge of becoming mainstream, and Anyma is in the center of it, proven through such a variety of musical collaborations in the past months. ‘The End of Genesys’ will be its defining record, an accumulation of this diverse sensations.
‘Lucente’ meaning ‘light’ in Latin starts off the record. Amongst the drifting bodies and chaos, an opening emerges from above, signaling spirits to shimmer though and light to shine. After the dramatic piano chord ending, ‘Voices In My Head’ featuring Argy and Son of Son abruptly
starts playing, presenting a banging techno beat straight on. A more melodic number ‘Hypnotized’ follows this track, featuring the vocals of Ellie Goulding.
’The End Of Genesys’ residency revealed Anyma’s new attempts to blend various genres, as these experimental tracks add a unique touch to the narrative. ‘Taratata’ featuring Matteo’s partner Grimes has a distinctive 6/4 beat, and Grimes’ grotesque yet appealing vocals create sounds unheard of. ‘Fortuna’ featuring Sevdaliza exhibits a strong baile funk rhythm as its main spine, as its narcissistic lyrics and sacred ambience resemble the goddess of luck. Anyma has also collaborated with the hip-hop scene superstar Yeat under the song ‘Work’ which was also first unveiled in the Sphere. In this track, progressive house and rage sounds intermingle together to render an upbeat and expansive tune.
Then comes the awaited track and also a viral scene at the Sphere—‘The End Of Genesys’, namesake of the album. This track opened every set during the residency, Evoking surprise and awe—even some sci-fi horror—to the audience of such an immersive experience.
As the beat drops, Eva relentlessly breaks the glass, and starts her journey. ‘Leave A Mark’ is the following track, which is also the second collaboration with ‘MAGNUS’ since ‘HIgher Power’. An apparent attribute this track bears is the maximum usage of echoes and the pulsating bass, common in melodic techno for
dramatic effect. Echoey synths with wholesome and touching harmonies is what consists of the main characteristic of the genre. ‘In My Mind’ featuring SCRIPT adds intensity with pulverizing synth and aggressive hard techno beats, representing turbulence of the human mind.
‘Angel In The Dark’ collaborated with Massano and Nathan Nicholson delivered another banger, highlighting the album as an immersive house with a meticulously beautiful harmony. After the journey, Eva has finally received a full human body, marking the literal ‘End Of Genesys’.
‘Human Now’ featuring Luke Steele of Empire of The Sun and ’Joke’s On You’ with 070 Shake narrates this finale.
Not only does this record reveal exceptional club bangers, but it also utilizes a valuable and important theme in current society. Artificial Intelligence has already gotten into the stage of commercialization, and anyone has access to experience and use AI assistants and technology, and while some view this phenomenon in hopes, there are voices worrying AIs becoming possible threats to the human race. ‘The End Of Genesys’ imagines an optimistic future where human and technology has successfully integrated; Anyma is envisioning and suggesting a world where they cooperate and thrive together.
Article by Tim Han
“This is just a nightmare... ...but soon I’m going to wake up”
With the release of Radiohead’s record In Rainbows in 2007, the band experimented with a novel distributing method; pay-what-you-want pricing, as seen on platforms like Bandcamp today, was groundbreaking in the recently post-physical age of music. Released online and digitally, fans could choose the amount they would pay for the album, with a minimum of 0 dollars. Challenging the conventions set by the physical confines of physical music, the band turns less political and more personal in their sixth studio album.
Radiohead, an alternative-rock band hailing from the United Kingdom, have never shied away from distinct style changes. Starting out with releases more to the mold of the British alt-rock zeitgeist in Pablo Honey and The Bends, the band took a left turn in what many consider as the band’s magnum opus – OK Computer. Shifting away from the guitar-driven vocal heavy
The Bends, OK Computer embraced elements of electronica and ambient style heavy layering of instruments. The band repeated this novel innovation with their eclectic Kid A, an ambient post-rock epic. These two albums are widely considered to be gigantic and influential shifts in the band’s discography, dubbed as the greatest left turns in musical history by many.
With In Rainbows, Radiohead experiments with the dialogue between the band’s intrinsic message and artistic statement and the wants and needs of their fans, combining their usual depressive lyric-laden art rock with upbeat art pop and electronica elements. In Rainbows implores the listener to dance, in spite of troubling circumstances and everchanging unfamiliar environments. The band layers the depressive and despairing lyrics with a heavily danceable electronic synth beat in the album’s opener 15 step. This is immediately followed by Bodysnatchers, a four-minute epic with an amazingly visceral, industrial guitar backing. The band goes slower and more melancholic with its third track, Nude. Layering shiny, glistening strings with lead singer Thom Yorke’s high-pitched vocals, the song focuses on themes of nihilism and overwhelm, stemming from an overly conforming and uniform society, where individual thought and personal freedoms are suppressed.
Compared to the band’s other albums, such as Amnesiac or The King of Limbs, Radiohead utilizes more traditional rock and acoustic instrumentation, such as in the sweeping cello in the intro of All I Need and the piano in the album’s closer Videotape. Doing away with the anxiety filled, tense atmosphere of OK Computer and Kid A, the band turns melancholic and calm. Warm, intimate, and sensual, In Rainbows focuses less on dystopia, politics, and the crumbling of society, and more on how this destruction touches upon the human psyche and invokes existential denial.
The upbeat nature of the project reflects a numbness, where apathy exceeds dread, leading people to be content in their indifference. With the introduction of streaming services and online distribution, many expect music to be free. Though physical forms of media such as vinyl, cassettes, and CDs are still popular, much of the sales are from listeners who have already listened to and loved these records beforehand.
Music is primarily discovered and listened to first through free listening, either from social media platforms like TikTok and YouTube, or streaming services like Spotify. Though the many negative effects streaming technologies have brought to the music industry are still
prevalent, such as an expectation of immediate gratification from short attention spans and the emphasis of quality over quantity in artists’ release patterns, there is a benefit that isn’t talked about enough. The introduction of free or virtually free media has given bands like Radiohead the chance to be more personal. Without the entry costs of retail prices, the scope and range in audience for a particular project is expanded, allowing bands to take a more personal and niche approach. It can shield a band from disappointment from loyal fans if they take a sharp left turn from their sound.
The release of In Rainbows led the path of niche, personal, and exceedingly tailored music, geared more towards a targeted audience than a general public. The band published this tape knowing that if their core audience did not like the contents, someone else would. In retrospect, this bravery and innovation has become just what granted Radiohead the cult following and massive relevance that it has today. In the years to come, platforms like Bandcamp and SoundCloud have taken the decentralized approach to music, allowing artists to hone deep into a specific niche and subculture, without the need to seem appealing to record stores or physical retail customers. In doing so, Radiohead’s In Rainbows has ushered in an era of tailored, innovative, and focused distribution of music.
Released 2007.10.10
15 Step
Bodysnatchers
Nude
Weird Fishes/Arpeggi
All I Need
Faust Arp
Reckoner
House of Cards
Jigsaw Falling into Place
Videotape
Review by Violet Chan
Set aside the memes and virals for a moment. Disregarding the awkward scene of Abel Tesfaye unexpectedly scolding Jenna Ortega trying to comfort him, the film ‘Hurry Up Tomorrow’ in general has a lot more to say than just a commercial movie. As one who was able to watch the movie earlier than most audiences and all by myself, I can well say that it was more than reasonable for Abel to choose the production of another long-form media despite the brutal criticism he received during his starring of ‘The Idol’ back in 2023.
‘Hurry Up Tomorrow’ is a thriller movie released in May 2025, starring Abel Tesfaye, Jenna Ortega and Barry Kehogan. It is also the name of The Weeknd’s 6th and final studio album, released early in the year. Both the film and the album explores and narrates the end of the persona ‘The Weeknd’, in which Abel himself has been hinting it too though some interviews.What’s interesting is that the film came first, not the album. He did have a ‘good chunk’ of his album completed when the incident at SoFi stadium happened, where he lost his voice back in September 2022. This incident had left himself defeated, not just in terms of his fame, but mentally and spiritually; it had him rescind his whole album and start from near scratch. It did really have him get to a watershed epiphany in which he realizes he needed to “understand what happened, face it, learn something new and start again.” As the movie itself draws inspiration from this very event, it is extremely important to acknowledge how this contributes to the grand finale of The Weekend, and an imminent reincarnation of “Abel Makkonen Tesfaye”.
The movie starts with the singer’s voice routines, and his manager ‘Lee’(Barry Kehogan) getting him ready for a grand show. Lee is his “ego builder”— he constantly encourages Abel, helps him make up his mind to perform in front of his fans waiting for their best night. However, things don’t go as planned, at all. The scene of his excruciating voice loss is once again recreated, and there is no choice for Abel but to cancel the show, just like what happened at SoFi. As Abel proceeds to run away from the chaos and seek refuge at a nearby hotel, he bumps into a seemingly innocent girl named Anima(Jenna Ortega) out of nowhere, and he decides to spend the night with her. So they leave the stage,
to a near carnival at a pier; spending an artless yet sincere time in ferris wheels and roller coasters. An ethereal tune of ‘Drive’ in The Weeknd’s album plays in the background. On their date at the pier, everything comes out in genuine happiness. Anima enlivens back the soul of Abel, just like its name; in Jungian theories, ‘Anima’ refers to the feminine archetype in the male unconscious mind. Anima, in fact, is not just a random stranger that happened to be lucky. It represents another persona of Abel Tesfaye; his naive childhood, and his sincere emotions of love and relationship. The time they unexpectedly spent together represented those times.
The preceding scenes of the movie explains why Abel has to put an end to the persona of The Weeknd in a metaphorical sense. The rather ‘cringe’ scene that went viral on social media is really, in a sense, a very normal reaction given the context. After the two spend the night, Anima implores Abel to take her together, insisting that she can be there to make him feel better. Of course, Abel is a star on tour and cannot accept her request. The scene really functions well as a breather for the whole film. Anima then grabs a glass bottle and strikes it on Abel’s head—just like that— and Abel falls into an unconscious world, a world all alone. Ominous, edited and unsettling background music plays, as Abel goes through traumatic experiences and jumpscares. A young Abel stares at him as if it wants him to come back to his innocent self. He is missing his feminine unconscious counterpart, which he seeks through Anima… …who emotionally breaks him down in the hotel room after tying him up. She plays his music and pushes him to confront his feelings, urging him to be honest about his love life. He’s on the verge of opening up. The scene where Anima dances to his songs, repeatedly asking him to “be honest,” is particularly uncomfortable to watch—there’s a sense of second-hand embarrassment seeing Jenna Ortega’s unhinged performance. But that discomfort is intentional; it underscores the film’s core idea: Abel’s anima is not here to comfort him, but to torment him, forcing him to face the emotional truths he’s long avoided. When Lee encounters them in the hotel room, Anima stabs him—symbolizing the dominance of the feminine aspect of his psyche over the animus, or the masculine. This act suggests that despite all the spirit present in Abel’s life, he still yearns for the soulful connection that only a nurturing, maternal love can provide. In the end, it is Anima who ultimately redirects his path, guiding him toward the person he aspires to become.
Overall, Hurry Up Tomorrow is much to unpack. It’s clearly made for devoted fans of The Weeknd—those familiar with his lore, persona, and recurring themes—not for the casual viewer looking for an easy watch. On a surface level, the film is difficult to sit through and enjoy in the traditional sense; but once you reflect on its symbolism and psychological undercurrents, especially how it ties into Abel Tesfaye’s artistic evolution, it becomes a compelling piece to dissect. The soundtrack is a standout—hearing Hurry Up Tomorrow in a theater with booming speakers was a brilliant experience. Film-tailored versions of tracks like Open Hearts, Cry For Me, and Red Terror hit with emotional weight, while songs like Drive and Timeless add tension and pulse to the film’s darker yet sincere moments. Without a Warning delivers one of the film’s most jarring emotional turns. The title track, Hurry Up Tomorrow, closes the experience on a poignant note, tying everything together in a final, soulful farewell. The cinematography, with its dizzying, dreamlike aesthetic, perfectly matches the film’s trippy, ethereal tone and emotional disorientation.Abel Tesfaye gives his alter ego one last cinematic breath—now, we can look forward to the music that comes next as Abel steps forward into a new era, mask off.
Box office poster for Trey Edward Shults’ movie ‘Hurry Up Tomorrow’. Released May 16 2025.
A first listening & review session of the album ‘Hurry Up Tomorrow’ is available in the OpenMIC YouTube channel.
Article by Tim Han
THE WEEKND & PLAYBOI CARTI
