Vinyl Tap Fall 2020

Fall 2020

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Foreword:

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Brigid Cryan

Cara Davis

John Dietz

Skyler Foley

Isabel Haber

Ceci Hughes

Eamon Raferty-Sweeney

Alyson Reynolds

Emma Shahin

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“It was the worst of times, it was the worst of times” is how I believe A Tale of Two Cities would have begun if the plot had taken place in the cursed year of 2020. Each day comes with news catastrophic enough to commemorate the entire year alone, but then we are somehow hit again the next day...and the day after that. Time, as a concept, is even harder to grasp these days, as each day is as monotonous as the last, and it feels like we are eternally stuck in March.

Although it can be hard to find a silver lining these days, I do believe that if you squint your eyes tight enough -and maybe tilt your head a little while doing some burpees- it may reveal itself. It is hardly easy (and maybe even physically exhausting) to feel optimistic about the future when all forms of normalcy have quickly slipped out of our fingers, but we have somehow persevered. I was initially concerned about Vinyl Tap this semester because I quite honestly had no clue how new students would find us. In regular years, we were already pretty hidden off! I learned that I had no reason to worry, though, because they did find us somehow!

This semester, our staff wrote about concepts that are hard to digest, and I am extremely proud of them for that. Alongside our wonderful artist interviews, performance analyses, album reviews, and haiku reviews lie more serious pieces touching on the protests and political turmoil in our country, how to cope with the unending COVID-19 stress, and what to do when your favorite music no longer cheers you up. I believe this is a special issue of Vinyl Tap because it serves as an artifact of the times, a mini time capsule if you will. Hopefully, someday soon, we can look back at newspapers, magazines, and articles of this time and remember how much we were able to overcome and how we became more resilient, thoughtful, and empathetic people in the process.

This issue’s theme strongly resonates with the adjectives “unidentifiable, unknown, and unclassified.” Protesters and police officers attempt to obscure their identities with very different intentions in mind, the vaccine remains unidentifiable (at least to an extent), and the future is largely up-inthe-air. Our photoshoot also alludes to this theme because we took the photos at an abandoned amphitheater that cannot be found on maps, we wore all black, and we concealed our appearances.

Our staff hopes that this issue resonates with you, the reader, in one way or another. Writing pieces, creating art, and taking photographs are several of the ways we have coped with the circumstances. Hopefully our pieces will reassure both us and you that our feelings are the same.

Here’s to better days ahead.

- Emma Shahin Editor-In-Chief 6

Contents Zoomer Emo

John Dietz’s conversation with Brody Hamilton of Khaki Cuffs

Impending Apocalypse!

Ceci Hughes writes about the apocalypse feel of 2020

Vinyl Tap: The Apocalypse

Vinyl Tap’s fall 2020 photoshoot at the abandoned Matoaka Ampitheater

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Disappointed but not Surprised 24

Fan reactions to Tyler Joseph’s racially insensitive comments fall flat, by Skyler Foley

Black Lives Matter Protests

Eamon Raftery-Sweeney writes about the recent Black Lives Matter protests

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Making the Most of Your Music 32

How to avoid listening burnout during the apocalypse, by Justin Berg

Omar Offendum

An artistic storyteller of the Hybrid Arab-American identity, by Emma Shahin

Album Reviews

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Our staff provides their collective two cents

Into It. Over It 42 Idles 43

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Art8 by Brigid Cryan

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Zoomer Emo John Dietz’s conversation with Brody Hamilton, the lead singer and guitarist of Khaki Cuffs

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Words by John Dietz An album that I’ve been listening to a lot this year is Khaki Cuffs’ self-titled album, the newest release from the self-described “zoomer emo” band out of Newark, Delaware. I recently sat down to talk with Brody Hamilton, the lead singer and guitarist, over Zoom.

John Dietz: I’d like to start with the new Khaki Cuffs album, of course. When you go back and listen to the complete Khaki Cuffs discography, it’s a bit of a change in sound.

What specifically inspired this album?

Brody Hamilton: I think I just got better at playing guitar, cause a lot of our old stuff was real power chord-y -- our first album and first EP were both super influenced by pop punk bands like Knuckle Puck, and the Wonder Years, and The Story So Far, and I also wasn’t in a band yet, it was just me at that point. I Am Nothing was the first release with Drew and Sam [bassist and drummer, respectively] in the band, and that was really cool because they bring so much to the table as musicians. But for the newest record, I started listening to bands like Macseal and Shin Guard, which are completely different ends of the same spectrum, which I guess comes out in how varied the self-titled is, as far as style. There are some screamo songs, there are some twinkle pop songs, and there’s a good few that have a criss-cross of influence in there, and that’s just because of all the stuff I was listening to, but also because of all of the stuff that Sam was listening to at the time: he’s super into math rock, but also emo and screamo, and then Drew is the real big screamo-head. All our influences come together in a really nice way on the self-titled that I don’t think happens on any other previous releases.

I also messed around with open tunings and eventually got one that worked for the way I play guitar, because being the only guitar player, you have to play rhythm and lead at the same time, and that’s way easier in open tunings: the tuning I came up with was DADAC#E, and that worked perfectly for me, and that was a big part of the self-titled sound, the chords that come out of that tuning naturally.

“There are some screamo songs, there are some twinkle pop songs, and there’s a good few that have a criss-cross of influence in there, and that’s just because of all the stuff I was listening to”

JD: In the self-titled, you combine elements from both twinkle emo and screamo. Was that a difficult gap to bridge and why do you think they work so well together?

BH: One of the first screamo bands I started listening to out of the gate was Suis La Lune -- they’re a Scandinavian screamo band, and they mix a lot of really cool atmospheric twinkly lead stuff and screams and polyrhythms. It’s really cool, and that influenced how I wrote, because I was like “this is so strange and different, but it’s something that I could totally do.”

I’ve always tried to scream, and I never really knew how, until one day I was in my car, and it just clicked for me, like head-screaming just like clicked, and I was like, oh, that’s how you do it! So then I thought, “okay, now that I can do this, let’s write some screamo shit.” And I think it’s really easy to bridge that gap because twinkle guitar by definition is really melodic, so you have a good counterpoint to a harsher vocal tone. I think musically, in the West, we expect there to be harmony and melody and rhythm, and if one of those is missing, it feels kind of strange, but if you have the melody that you’re playing on the guitar, it’s not hard to scream on top of that. Screaming also just sounds sick! I don’t know how to scientifically back it up, but screaming just sounds really cool!

JD: What’s the next direction for Khaki Cuffs? In only three years, you’ve moved from a heavier punk driven sound to a twinklier emo sound...Where do you go from here? What genres do you want to influence your music going forward?

BH: Khaki Cuffs has always been into 100 gecs. We were the hipsters behind 100 gecs. We knew about 100 gecs before anyone else knew about 100 gecs, and I’m stoked that they’re catching on, and I’m really happy that they’re getting a lot of mainstream popularity on TikTok and shit. However, I have to put it out there that Khaki Cuffs was listening to gecs in May 2019 -- that summer I was an Orientation Leader, and so to wake up, I would listen to a playlist of 100 gecs, i hate sex, and the Death of Spring split.

JD: That’ll wake you up.

BH (laughing): It was just a chaotic mix of things to listen to. So we want to incorporate more hyperpop into our sound, which won’t be difficult, because speaking generally, I think that DIY kids are pretty into 100 gecs, but no one has really combined the 11

two aesthetics musically yet, but it’s bound to happen at some point. It’s not like it’s too difficult, because we’re friends with people like Holidaykiss and Blair from Dead Sun Project, so we should be able to get some good producers on whatever we do next. I don’t know what the plan is, I haven’t written anything -- I’ve been too happy lately. But that’ll come!

That’s one of the directions we wanna go next, obviously deeper into screamo, because as I get better at playing guitar, I want to play more complicated stuff, and on the record I feel like we kinda dip our toes into screamo, there are points that we go all in with it, but we never go all in for too long. I’ve never been a person that’s like “a record needs to sound one way,” but speaking generally, the plan is major key screamo that has hyperpop influence, that’s produced by some of our hyperpop or EDM producer friends, and also tiny influences from bands like Attack Attack! There’s also gonna be more banjo on future stuff, hopefully. Influences for the future… I don’t know, it’s really difficult to think about that kind of thing… I haven’t even mentioned all the other bands in DIY that our friends are in, like Carly Cosgrove, oh my god, and Origami Angel is obviously an influence on pretty much everyone in DIY at this point.

JD: Yeah, they’re getting kinda big, like I’ll be talking to someone not even in the DIY community and they’ll know Gami.

BH: Yeah, it’s really sick (laughs). I was talking with the band in January, and I was like “after the record comes out, we have a really good opportunity to define where “zoomer emo” is going” because it’s in this spot where people who are in it think it’s really cool, but there are people in the peripheral who are like “oh, it just sounds like these bands from the 90s.” But we have an opportunity to hyper-modernize what zoomer emo is and make it more a personality-based thing, because a lot of people who are musicians in zoomer emo bands are very creative, and they have their toes dipped in a lot of different types of music, and I think it’s time to bring those influences out in ways that they aren’t out yet.

JD: I wanted to talk about live shows also, because they’re very core to the Khaki Cuffs identity. Can you talk about why live music is so important to you as a band?

BH: It allows us to try new things. Live shows are a way for us to hear what we actually sound like as a band, because at any given time, we have music that 12

was written almost a year ago that isn’t out yet. And you’re only gonna hear that when you come to a gig, because we don’t wanna leak anything. Sam is very anti-leak -- I’m pretty pro-leak; I’ve leaked things, and Sam has texted me saying “you need to take that down,” so I do. (laughs) But until April, no one had heard the LP2 songs, even though we’ve been playing them for like a year. At the time of them coming out, they were like old songs to us. When we play live, we’ll do six songs, maybe eight songs, and call it a night because we put a lot of energy out there, and we don’t want to overexert ourselves or ask too much of the audience. We really love playing hometown shows, because these are our people and they go absolutely nuts for our music, because these are our friends. We love playing at Alyssa’s house, or here at the Temple, where I live, cause it’s all familiar faces -- people do Walls of Death, and they crowdsurf, when the ceilings are this high (gestures at relatively low ceiling) it’s ridiculous. We haven’t toured a whole lot, just because we’ve been in school this whole time -- we were gonna tour this summer out to the Midwest and back, playing places like the Riot Room, and the Summit Shack, and all those places in the Midwest that are super cool. Unfortunately, that didn’t work out. But playing live has always been the way that we show people what we sound like, because for a very long time we had no new music out. Playing gigs is also a great way to give back to the community if you’re playing benefits -- we did a lot of stuff for Jess Scarane.

“We really love playing hometown shows, because these are our people and they go absolutely nuts for our music, because these are our friends.”

JD: I’d like to talk more about Blue Deputy, which you play drums for -- the new singles have gotten some buzz, it’s really cool to see that, and I know there’s an LP in the works. How did you become involved with this band, and can you tell us more about what’s to come?

BH: Well, at first Blue Deputy was just Andy’s project -- it’s pretty much the inverse of how Khaki Cuffs happened. It was a bedroom pop typa jawn and they had one song out. Over quarantine, we met. It’s a very long story involving the Khaki for Fears Twitter account and a livestream I did once, and so much happened. I just simply can’t get into it (laughs). But I met Andy, and I DM’d them. I was like “yo, you’re Andy,

right?” because I thought the name Andy in their bio was the person that they might be dating, and I was like “uh oh, they’re really cute, I want to spend time with them.” But they said “yeah!” and I was like “okay, phew” (mocks wiping sweat from brow), “I’m Brody.”

And sparks flew and we became partners, which is epic. Never been more in love with a person in my entire life. But they had this project, and they wanted someone to play drums for it, and I was like, “not only do I know how to play drums, but I know how to record drums, and I won’t charge you at all, because I am in love with you, so what if I recorded drums for the record” and they were like “yeah, you should do that.” And afterwards they were like “so you’re in the band?,” and I said “I guess I’m in the band,” and then I was in the band, you know? I recently went into the studio -- skipped a lot of class, I don’t know what’s going on in any of my classes -- but the drums for the record are done, and they sound good. I practiced a bunch because I’m not really a drummer -- well, I don’t know, I guess I am now (laughs), but I see myself as a guitar player who picked up drums to fulfill a need. So all these songs are written completely

by Andy, and then I add drums on top, and I have some small input, like “you should do a pick scrape here,” “you should do a panic chord here,” “I think we should go to the bridge a bit earlier.” But it’s very nice just to play drums for a project. It’s really, really good. Andy is an insane songwriter, and I’m not just saying that.

JD: Alright, I have one last question: what would your advice be to someone who wants to start a band?

BH: A lot of things have become very clear to me as I’ve gone deeper into the DIY meta, and it’s that there really aren’t any rules to this. The first thing is that you should not gauge if you should keep making music based upon the success that you can get, cause that’s the wrong way of doing things. It’s very easy to get discouraged by other bands’ popularity and look at yourself like “what am I doing wrong?”

That happened to me a lot, but all DIY is about is making friends and having a good time, so as long as you’re doing that, you’re doing what you need to be doing. Learn how to work Garageband very well, because that translates into Logic super easily. Get one of these (holds up audio interface). Before you join a band, be comfortable with how good you are at your instrument because it can be very discouraging to join a band and then feel like you aren’t good enough to be in that band. But also, be in a band with people

you want to be in a band with. You should only gauge if you should keep making music by how much fun you’re having doing it. Don’t think you’re too untalented to join a band, because you’re not. There isn’t a prerequisite to having talent, you just gotta go out and do it. Make sure you have time to practice your instrument, maybe not every day: I used to practice two hours a day… not anymore, not in quarantine.

But yeah -- make friends. That’s my advice. I say this all the time: people get all caught up in the clout of DIY, which is really funny to me, cause there is none.

If you’re worried about that, you’re making music for the wrong reasons, I think. And become part of your local community! I feel like most people who are gonna read this already know that, but making friends with the people who go to house shows is crucial -- how I met everyone in the band and everyone in the Newark scene is just by talking to people, and if you’re nice and a good person and you just wanna hang out and make friends, people like that. The only reason that this band is as successful as we are is because of our community and our friends supporting us. So definitely become close with people in your local community, even if they aren’t people in positions of power, that shouldn’t matter. Cause then people will ask you if you want to play shows, people will ask you if you want to be on bills, if you want to do X, Y, or Z thing. Attend a lot of local gigs, attend potlucks and things of that nature. Just be a good person and support your community, and your community will always do the same for you.

JD: Thank you so much for talking with me, and I can’t wait to go to a Khaki Cuffs show once those are a thing again!

BH: Gosh, me too. I can’t wait to play again. It’s like… man… We want to play our LP release show, which is such a stupid thing to say, since it came out months ago.

JD: Yeah, almost six months ago, right?

BH: Oh my god, don’t say that! Yeah, but you’re right, it did come out almost six months ago, and we wanted to play our LP release show with Oolong and Cheem, so that’s gonna be a gig you’re gonna want to see.

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Art by Brigid Cryan 15

Impending Apocalypse!

Ceci Hughes writes about the apocalypse feel of 2020

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Today.YouGov.com

The year 2020 seems to be following the plot of a badly-written young adult dystopian novel. It seems like so many of the tragedies this year are consistent with tropes in dystopian, end-of-the-world fiction. Our world is in lockdown due to an incapacitating pandemic, hurricanes are sweeping the United States, and in our capitol, the threat of an uprising is ever present due to the upcoming election.

As I reflect on this year, it’s hard for me to not scoff at the cliches (murder hornets seem a little corny) and scan the year for plot holes (didn’t we do the wildfire scene earlier in the plot?). But when I snap myself back into the realization that this is our reality and not some spin off fanfiction of Divergent, it becomes harder and harder to convince myself that we’re not living through the apocalypse.

I’ve been searching for some way to make sense of the unidentifiable, impending doom of the Coronavirus pandemic ever since it began in March. I remember feeling scared and confused on March 13th when I found out that William and Mary would be closing for the next month. What had been a foreign and distant problem lurking in the back of my mind throughout January and February immediately became present in every aspect of my life.

The Coronavirus had come to America, and it was hard not to panic.

As someone who lives with an immunocompromised family member, I was terrified.

It felt like my world was crumbling around me, and I was anxious for how the pandemic would impact my family and our lives. But normality in my life was dissolving in other, more subtle, ways as well. My study abroad trip was cancelled, concerts that I had eagerly bought tickets for months in advance were postponed, and end-of-the-year events at school were scheduled for later dates. I, like many other people in many other countries, felt confused, anxious, stressed, and worried to see what the future would hold. But most of all, I felt like I had lost all sense of normality.

Over quarantine, I’ve been trying to relearn how to live and establish a new ‘normal.’ Even

now that so many students back on campus, my schedule is rarely concrete and regular, and with so many asynchronous classes, it’s hard to determine what things will look like week to week. So I’ve decided if I can’t find normality in my schedule, in my surroundings, or in my future, maybe I can find it by looking at the things I love.

So, though it might be ironic, the way I’ve chosen to cope with the unidentifiable is by re-reading some of those old young adult dystopian novels that remind me so much of our world today. I’ve pulled The Hunger Games and The Handmaid’s Tale off my shelves and searched for how these characters who inspired me so much in the past dealt with issues so similar to those we are dealing with today. There’s something so comforting about re-reading our favorite books, re-playing our favorite video games, and watching the same movie over and over again. Regressing back into childhood these past four or five months has really brought me a sense of peace. Being home with my brothers meant replaying all of the Lego Harry Potter games, even though we are both in college now. The comfort of re-doing something that I know I have done before has really helped me feel in control of the world. There is a sense of normality in streaming that Phoebe Bridgers album for the fifth time this week simply because it makes you feel recognized and at peace.

“So, though it might be ironic, the way I’ve chosen to cope with the unidentifiable is by re-reading some of those old young adult dystopian novels that remind me so much of our world today.”

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But while I’ve learned to find comfort in the everyday activities of my life these past few months, there are some things that I just will never be able to pin down. For instance, why is it so hard for some people to wear masks?

I suppose in the context of the anti-vaxxer movement, I shouldn’t be surprised that there are some people who feel a certain distrust and nervousness around science. But it’s hard to make sense of the fact that there are people in our country who don’t see a purpose behind wearing a mask. I can’t help but wonder how these people will react when a vaccine does come out. Will people refuse to take the COVID vaccine out of a similar fear surrounding science and the government? Or will people come to realize that a pandemic is bigger than them, and that we all need to do our part to keep each other safe? I wonder how anti-maskers feel about our future. Do they feel the same impending sense of doom that I feel? And do they realize how much our problems may be diminished if everyone chose to take this pandemic seriously?

As we enter autumn and winter, the future looks even more unclear than before. The process of finding a vaccine is long and difficult, and it’s scary to think that it may be some time before things can completely return to normal. According to the Mayo Clinic, making a vaccine can take anywhere from twelve to eighteen months. This includes testing on animals and humans to make sure the vaccine is safe and viable. While researchers may attempt to speed up the trials of possible vaccines due to how widespread and intense the COVID-19 pandemic is, there are some steps that simply cannot be skipped. It is important that whatever vaccine is mass-produced is safe and reliable. Researchers have promised to not release a vaccine until they are sure it is safe for the public to use, which means it may take time to develop a good option.

Even when there is a reliable vaccine that has been vetted through test trials and months of surveillance, distributing a vaccine across the United States could take weeks, if not months.

According to the Mayo Clinic, there may need to be two rounds of vaccines that people 18

have to get in order to be fully immune to the virus. Judging by how widespread the virus is, it seems likely that it will take a while to distribute the vaccine to all the communities that need it. Different countries have different access to healthcare, and it may take some time for us to become globally immune to the Coronavirus. It is also significant that different communities have been disproportionately affected by the COVID pandemic.

People who come from lower socio-economic backgrounds are more likely to face serious cases of the Coronavirus. According to the CDC, rural communities are also more at risk for the virus. These are the communities that desperately need a vaccine, but will most likely be among the last people to receive it.

Though the past year has been uncertain and unsettling, it’s hard to imagine that our future will be any more concrete than the life we’re living now.

So while we’re living through this dystopian hellscape, I have a couple suggestions on how to find normality in the unidentifiable past, present, and future. Return to what you know.

Return to what you love. Remember what has given you comfort in the past and delve into those areas again. For me, comfort means rereading my favorite books, playing Lego Harry Potter with my brother, and listening to American Football on full blast with the windows down in my Toyota Camry. Comfort means finding a creative outlet, like painting or embroidery, to release the bad feelings and find the good ones. Comfort means cuddling up on a couch with a poorly written young adult dystopian novel and learning that everything turns out okay in the end. The protagonist always comes out on top.

Vinyl Tap: The Apocalypse

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Twitter: @tylerrjoseph

Disappointe Fan Reactio ns

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d but not Su

to Tyler Jose

rprised

ph’s Racially Insensitive C omments Fa

By Skyler Fo ll Flat ley

I fell in love with Twenty One Pilots in 2015, when their album Blurryface came out. I remember blasting “Tear in my Heart” in my mom’s minivan as we picked up my sister from school, and listening to “Car Radio” when I was sad. As an unpopular and, frankly, very weird seventh grader, I felt like this band understood me. They didn’t write many love songs. They wrote about mental health, feeling unwanted, and coping with emotions. Captivated with interviews of the lead singer, Tyler Joseph, I learned about the creative process of making music, and began writing songs myself.

Tyler Joseph tweeted this on September 2nd. Instead of using his “platform”, or his massive following, as he had allegedly been asked to do, he posted a picture of himself wearing platform shoes. Though Black Lives Matter was never mentioned in the tweet, it is implied by the context of the ongoing racial justice protest that this is what he was asked to use his platform to speak on. The tweet was met with a mix of backlash and a strong defense from his fans. What followed was a confusing string of tweets about mental health, followed by a double down, and then an apology.

Twenty One Pilots have released 5 albums to date, their biggest commercial success being songs like “Stressed Out” and “Ride” to the radio. Their fanbase, called “The Clique,” was extremely involved. Many fans also felt that Twenty One Pilots understood them on a deeper level, and went so far as to claim that the band’s music saved their lives.

“i use music, humor, being alone, breaks from social media, family, uncomfortable and honest conversations with friends, and sometimes crying [to cope]”

The band also had a history of remaining politically neutral. When gay marriage was legalized, for example, Tyler Joseph simply tweeted a statement: “It breaks my heart that not posting would lead some of you to believe that I do not love and support you” and “...any day that love defeats hate is worth celebrating.” Never in his statement did he directly acknowledge marraige equality, or dare to utter the word “gay”. I saw the band in concert shortly after the release of their album Trench where a fan threw Joseph a pride flag. He waved it and wrapped it around himself. To my knowledge, this was the band’s first and only acknowledgement of their LGBTQ+ fans.

This neutrality continued into the racial justice protests following the deaths of George Folyd and Breonna Taylor. Joseph was not completely silent on the matter - he posted a few images on Snapchat in support of George Floyd. By September, that could have reasonably been the end of it for his social media comments on the matter. To my disgust, it was not. “you guys keep telling me to use my platforms. feels good to dust these bad boys off.”

“Instead of using his ‘platform,’ or his massive following, as he had allegedly been asked to do, he posted a picture of himself wearing platform shoes.” “mentally/emotionally, i can only carry so much, because what i do care about is so heavy, the thought of adding more on top of it makes me want to stop trying” “this isn’t a notes app moment. i’m doubling down on my platform tweet. it was fantastic.”

And finally: “my tweet wasn’t suppose to be about human rights. so in case you are wondering where i stand: Black Lives Matter. i just wanted to take a moment to raise awareness about something else that has meant a lot to me for a long time. but now I see there is no room for that right now. im truly sorry if it hurt anyone. here is a link with a lot of great info that i stand by.”

There’s plenty to unpack here: - The “using humor to cope” excuse, as if it is ok to make light of other peoples’ pain to make light of other peoples’ pain to make yourself feel better.

- The veiled suicide threat.

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- The frankly terrible double-down.

But what I want to talk about - what I think is the most important - is the fan reaction.

The majority of Tyler Joseph’s fans responded to this controversy by supporting him emphatically. A lot of the tweets attempted to personally comfort the singer, including user @dorothyhwangtwt’s when she tweeted “tyler doesn’t deserve all those threats. he doesn’t deserve all those nasty words in his direction. let’s support him as he does us. the situation, as for me, is a complete absurdity we love you, tyler joseph #stopblamingtylerjoseph”. Similarly, user @hattssht tweeted “i was only 14 years old and I wanted to die but [Twenty One Pilots’] music saved me and made me love life…”

“The majority of Tyler Joseph’s fans responded to this controversy by supporting him emphatically” The Twenty One Pilots fandom presents unique questions: What happens when fans credit an artist for saving their lives? Will those fans ever hold that artist accountable for their actions? Twenty One Pilots have used interviews as a way to connect with their fans because the ‘one-on-one’ format makes them seem more approachable and real. It reached a certain point, as happens in many fanbases, where the fans started to see the relationship as one between close friends rather than one between a creator and a consumer. Once that relationship reached that level of intensity for the fans, their ability to criticize the artist’s misconduct broke down. Twenty One Pilots saved your life. Tyler Joseph did nothing wrong.

And there were evil (evil!) people sending him death threats. Why can’t you just love Twenty One Pilots’ music in peace?

We can never love music ‘in peace’ because there is no peace, and regardless of the apolitical efforts of Tyler Joseph no content is entirely divorced from the society in which it is created. Twenty One Pilots’ music is 26

unquestionably influenced by the work of Black artists from past and present. They have drawn influence from rock, reggae, and rap; all genres created and innovated

by Black musicians. And to take, merge, and repackage these styles, and claim them as his own, while ignoring the struggle of the Black people who made your very sound possible, makes it difficult to claim the moral high ground. Was Tyler Joseph’s apology enough? Was posting a link to an already well-known donation page on Twitter enough, or does that put the burden on the fans, who have already proven themselves not to care very much about Black Lives Matter? I personally would have preferred to see a donation, since Tyler Joseph is the one with the millions of dollars.

It is our responsibility to criticize who we listen to and obsess over as fans, whether our criticism be toward Twenty One Pilots or any other artist. That doesn’t mean sending death threats (although I didn’t actually see any of those on Twitter). Criticism means making your disappointment heard when an artist screws up. We have to divorce our love of a piece of art from the person who made it - and stop financially supporting that person if their conduct does not change. While I was extremely disappointed in the fans I saw announcing their unconditional love and support for Tyler Joseph, I was proud to see a few voicing their uncomfortable disappointment. It is difficult to admit that something you love is flawed.

No artist is necessarily obligated to speak on any one issue. There are plenty of problems in this world, and constantly trying to correct all of them will inevitably lead to burnout. However, joking about how you are not going to use your platform is cruel.

Tyler Joseph didn’t use his platform. He misused it. Plenty of other artists will misuse their platforms too, and when they do, we ought to hold them accountable.

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Black Lives Matter Protests

By Eamon Raftery-Sweeney

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Victor J. Blue for The New York Times

Five months have passed since the murder of George Floyd. In cities throughout the country, protesters have taken to the streets nearly every day since his murder to demand the murderers of Floyd, Breonna Taylor, and countless other Black men, women, and children be brought to justice. They protest the systems built on slave-catching and Jim Crow. They demand defunding or abolishing the police outright, as the police have time and time again proven themselves to be little more than protection for neo-Nazis, if not neo-Nazis themselves.

This rage is not new to our country; seemingly every 5 years or so, this rage manifests itself in riots that peter out after a few nights. But this time, it feels different.

Months of quarantine, high unemployment, and little government assistance (outside of a measly $1200 check) created a powder keg that exploded after Floyd’s murder. Protesters march every night with fervor. Perhaps the final reckoning of racism is upon us. It’s hard not to look out at the sea of faces - not just Black and brown, but white, too - and not feel some sense of hope.

But we live in dangerous times. Cops across the country have responded to the largely peaceful protests with tear gas, batons, and rubber bullets. Even after protests end, cops use social media posts to find and harass protesters; sometimes with warrants for arrest, sometimes to extract revenge. No location is safe for the protester who shows their face. The cops have shown up at protesters’ places of residence, as well as in the middle of the highway, as seen in one shocking case outside of Portland. In this day and age, anonymity at protests is essential to survival.

The common logic is that innocent people have nothing to hide. If you go out with a mask, or a bandana, or a hoodie, you’re immediately suspicious, a threat. These protesters are guilty of nothing but using their first amendment rights, yet the police beat and brutalize them all the same. The police seem to take some sick pleasure in their work, as though they are searching for a

chance to knock someone unconscious. In a way, it’s a blessing that these protests are happening amidst the largest pandemic in 100 years; the protesters have many reasons to be covering their faces besides fear of retaliation.

Identity is sacred to protesters, but identity is sacred to cops alike. They arrive on the scene with covered badges in unmarked black SUVs. One the streets, these cops appear identical: dark suit, helmet, sunglasses, sturdy build...they carry no discernible individual traits. Their anonymity makes them difficult to hold accountable, with what few systems of accountability our society has in place for them. In particular, the federal police that mayors have called in to quell the unrest seem to come from every department under the sun, assembled into random units, anonymous even to each other to reduce accountability With this anonymity, they have engaged in Draconian measures, including the nightmarish disappearances of protesters separated from the throng. Late at night, they appear in their unmarked, black SUVs, throw a bag over the head of an unsuspecting victim, and take off into the night. These intimidation tactics not only rob protesters of their personhood, but also serve as a warning to all others that the police have the unethical power to make you anonymous.

“Their anonymity makes them difficult to hold accountable, with what few systems of accountability our society has in place for them.”

Along with fear of the cops, the presence of unaccountable, anonymous fascist militias increases paranoia in the streets. Fascist militias have rolled up to protests with their license plates covered, and often act as agents of the state, despite being private citizens. They harass and threaten protesters as much as cops do, brandishing the same lethal weapons. While cops usually remain 29

nonlethal, fascists have no restrictions. As seen in the case of Kyle Rittenhouse, they are also more than happy to pull the trigger on an unarmed protester. The overall acceptance of anonymity in these situations has led many to speculate about the presence of police or fascist militia allies amongst the crowds of protesters themselves. A now-infamous video was released toward the beginning of the uprising depicted a man dressed in all black with an umbrella casually walking up to an AutoZone, smashing its windows, and walking away. Cops and their fascist allies make it impossible to protest safely and peacefully. You never know when they’ll strike next.

With all of this in mind, our pieces for this semester’s issue deal with this anonymity we see in our current political climate. Our facial coverings make it difficult to identify who we are; some of us even painted our faces in reference to the anti-surveillance makeup movement in Hong Kong. This movement retaliated against the facial recognition technology that was being used to identify protesters there. We hid behind pillars, trees, and umbrellas to mask our identities. The images are mysterious and some of us are enshrouded in shadow, making it impossible to discern any one of us from another. Our individual photos are taken with our masks and other covering still on, rendering us unidentifiable ourselves. We stand at the edge of a pit and gaze into the void, symbolizing our uncertain future.

Part of the horror of living through an historical event is that you have no idea how it’s going to end. It seems to me, though, that all of this will end soon. We stand at the precipice. And with any luck, our suffering, blood, and toil will have paved the way for a better, brighter future. A better world is possible.

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Art by Ilana Moyer

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How to Avoid Listening Burnout During the Apocalypse

By Justin Berg

I would reckon that a lot of people’s relationship to music has changed in the wake of quarantine.

It’s offered a distraction from the past year’s series of unfortunate events, and it’s been a well-needed escape from the confines of our homes and dorm rooms.

you’ve never noticed. By listening closely, you can get insight into what an artist meant - for example, if you hear an organ, it could reflect a religious theme.

Putting in a good pair of headphones can make all the difference in how you think about a song; you’ll hear all of the intricacies of the music, and someI, for one, have never listened to more music than I times you can feel like you’re in the same room as have since March. On the whole, that’s been a good the artist. You can also change the equalizer setthing: I’ve finally been able to keep up with new tings on Spotify to hear different parts of the music releases and explore everything by my favorite art- more clearly. ists. On the other hand, this year was the first time I started to worry that I was using up all that my favorite music had to offer. In case you’ve been in the same situation, I’m here to give you some ways to Listen to it live. keep your listening interesting.

When you’ve already heard everything by an artist ten times over, the next place to turn is often live performances.

Mix it up.

There are plenty on Youtube (in varying quality), and singers sometimes perform covers they haven’t recorded or play their own music with a twist. Live versions can be quite different from studio recordings, and you might even prefer them.

Next time you revisit your favorite album, listen to it in a different way. For example, playing the songs in reverse order can draw your attention to the back half of the album. It might also give you a new understanding of why the album is ordered the way it Additionally, it’s always exciting to go to a concert is. I also like to shuffle two different albums together in person, thanks to special effects, costumes, choto create an entirely new experience. Regina Spekreography, and most importantly, the chance to see tor’s album Far + Bibio’s Ambivalence Avenue has someone you look up to perform in person. At one been my favorite combo so far. concert, I had the chance to see Regina Spektor play Alternatively, listen at a different time. If your sleep a chair like the drums, giggle at forgetting a few lyrschedule’s anything like mine, maybe you’ll agree ics, and perform an encore alongside her husband, that sometimes you’ve just got to listen to music at all from maybe twenty feet away.

3 am. There’s something about being the only one awake that makes music more intense at night.

Think about it differently.

If you’re not quite sure what one of your favorite albums means to you, simply paying attention can be eye-opening. Look for a common thread in the album - maybe there’s a theme or a narrative it’s trying to tell. I still remember feeling like I’d finally figured out Radiohead’s In Rainbows. Try reading the lyrics, or listen beyond the vocals for a bass line 32

“At one concert, I had the chance to see Regina Spektor play a chair like the drums, giggle at forgetting a few lyrics, and perform an encore alongside her husband, all from maybe twenty feet away.”

Look outside of your streaming platform.

Even when you’ve gone through all of the music on an artist’s Spotify page, there’s almost always more to find online. Bandcamp and Youtube are both great places to look for albums, B-sides, and unreleased material that didn’t make it onto other streaming platforms. Make sure to look for demos and uncredited features! You can often find a list of an artist’s entire discography on Wikipedia or elsewhere, which will tell you if you’ve missed anything.

image are all a lot like putting together an album.

It’s fun to organize one around a certain theme or aesthetic, and the more specific, the better the challenge. For example, make an “October Mornings” playlist. Or try taking your top ten artists, no matter how different, and creating one with a song from each. You could also indulge yourself and make a playlist of songs you’d give somebody to convert them to your music taste. It’s a sure way to find excitement in listening to music.

Broaden your horizons.

Listen chronologically.

If you haven’t played your favorite artist’s discography in order, you should try it. Maybe you’ll notice how their style has changed over time or how they’ve stayed true to the same message. Depending on the artist, it could take from a few hours to a few days, but no matter what, you’re bound to gain a new appreciation for them.

Make a playlist.

Rather than just shuffling your giant music library, separate it into playlists. Some people make a new one for each month, some organize them by mood, some by genre. What matters is that when you’re not feeling one playlist, you have another one to move on to. I make a new one every so often, and I’ve found that when my current playlist has gotten to around 200 songs, it’s time to start a new one.

It’s also interesting to look back at the playlist I was working on a year ago; it’s like opening a miniature time capsule.

Making playlists can also be a chance to turn the music you enjoy into an artistic statement of your own. Choosing and ordering the songs for a playlist, coming up with a clever title, and choosing a cover

It’s rewarding to explore new genres and artists. The more diverse your musical tastes are, the more you’ll have to play. It’s fun to look forward to a Strokes release one week and a Rina one the next.

If you know someone who listens to a genre you don’t, ask for the best songs to introduce yourself to the genre. One of the easiest ways to make a friend’s day is to ask about their favorite music, and you might just find something you love.

Nonetheless, often the most valuable treasures are the ones you discover on your own. There’s no shortage of places to look: for example, Last. fm seems to have an uncanny ability for good recommendations, and it’s a great way to find others with similar or different music tastes. If there’s an artist who already has a few songs you like, check out their other work. Additionally, be sure to check out smaller local artists, and that includes William & Mary students!

Take a break.

Finally, despite all my advice, it’s important to realize that you don’t always need to be listening to something. Take a break, appreciate the silence, and you’ll enjoy the music more afterwards!

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Omar Offendum

An Artistic Storyteller of the Hybrid Arab-American Identity, by Emma Shahin

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Watching Omar Offendum perform alongside the Middle Eastern Music Ensemble last fall was an incredibly unforgettable and emotional experience for me. The performance was not only spectacular due to the clear talent of the ensemble and Omar, but also because of the multitude of artistic media presented during the performance.

Omar is undoubtedly a talented rapper, but I believe he’s also an amazing storyteller. I didn’t leave the show feeling like I attended a concert; I felt like I had just been in an intimate space with a close friend where he had shared his secrets with me for immeasurable hours into the late night. There was no disconnect between Omar and the audience; he told us of his many hopes and fears as a hip-hop artist, an Arab-American, and even, a father.

Furthermore, Omar is an artist because he creates a collage of media that portrays many angles of his identity onstage.

One of my favorite moments was when he performed “Close My Eyes,” one of his own songs, while the Middle Eastern Music Ensemble improvised around him at their collaborative show on Friday, November 22nd 2019. Once he finished his own bars, Omar ceaselessly transitioned into the poem “Faces” by Kahlil Gibran, who is one of his major poetic inspirations. In “Close My Eyes,” you can feel his grief regarding his father’s death. Omar scatters many fond, yet heartbreaking, memories of his father throughout his lyrics in this song. Omar also mentions that once he cuts off the rest of the world by closing his eyes, he can finally see his father. The absolute darkness of his forcefully closed eyes contrasts his father’s illuminating, loving, face. When he cannot find solace in the real world, his father’s face provides him a sense of consistent comfort.

The lyrical content of “Close My Eyes” ties into “Faces” by Kahlil Gibran because Kahlil thoughtfully discusses the complexity within the physical and emotional nature of the faces he sees around him. The entire show comprised of intricately-woven collages of poems and music; some were Omar’s

intelleclectual property, and some were thoughtfully picked by Omar to explain his story through the eyes of the other poets and musicians who also understand.

As an Arab-American, Omar is compelled to draw influence from those of Arab and/ or American origin. To understand the complete essence of himself, he feels the need to pull from every source which uniquely reflects his identity. As a fellow Arab-American, I deeply respect his ability to effectively encapsulate the experience of having two distinct, yet occasionally complementary, identities. I’ve never witnessed a performance that accurately summarizes my identity as well as Omar’s before, and I was so proud that someone like me had been able to somehow artistically express what I, and many others, have been feeling inside for so long. Omar Offendum is essentially a storyteller who makes use of collaging to navigate and express the complexity of his hybrid Arab-American identities. He accurately presents his story by combining relevant musical, poetic, and linguistic elements of both Arab-Muslim and American culture.

“Omar Offendum is essentially a storyteller who makes use of collaging to navigate and express the complexity of his hybrid Arab-American identities.”

I believe that both Omar’s upbringing and values led him to flourishing in the genre of Hip-Hop. Hip-Hop is widely known as a genre and, generally, an art that allows minorities within any population to express themselves in a creative, beneficial way.

Many people, according to the renowned scholar, Tricia Rose, originally gravitated toward hip-hop because they felt unheard by those in power within their communities. I would argue that Omar also began to pursue his journey as a Hip-Hop artist for these reasons. I believe that several of the stories 35

he told during our interview together reaffirmed my theory. I asked him what the best and worst aspects of being an Arab-American are. For the worst aspect, he vividly recalled an unsettling event that is still clear in his mind. This event was 9/11, and it occurred when he was a student at UVA. He remembers that a big TV was “reeled into the main lobby” of the building he was in displaying the footage of the terrorist attacks.

Everyone watched in horror as the twin towers and Pentagon were attacked. Omar was just as upset and concerned as the rest of them, as he was raised in DC and he “could see the Pentagon from [the] window” of his home. However, after the footage of the attack ended, CNN decided to take a video of Palestinian children celebrating during Eid, a Muslim holiday, terribly out of context.

CNN played the video with a caption indicating that these children were praising the 9/11 terrorist attacks. As we all know, this was just the beginning of false depictions of Muslims in mainstream media. Omar told us that while this video was playing, many of his classmates turned to look at him as if he were affiliated with the attacks.

Of course, Omar was irritated that people had stereotyped him, but he wasn’t necessarily surprised. He, and his friends, had begun to face scrutiny as children. Omar attended a Saudi-Muslim school in DC, and he remembers that there was talk of developing another Saudi-Muslim school in Poolesville, Maryland. The people of Poolesville, however, didn’t want “terrorists in their backyard.” Sure enough, Omar explained, when officials came to visit the school, they didn’t find any “army fatigues” or “guns on the walls,” but rather “kids in single file, eating snacks and being boring kids.” After hesitation, Omar smiled and corrected himself by saying that the students at his school were “awesome kids, but not doing anything terribly controversial.” Omar believes that if he hadn’t found an outlet to “voice his frustrations in a musical and poetic way,” he “doesn’t know what [he] would’ve done.” Hip-Hop is not only a creative outlet 36

for those who pursue it, but is also a strong, figurative, network for the people who are underrepresented.

“Of course, Omar was irritated that people had stereotyped him, but he wasn’t necessarily surprised. He, and his friends, had begun to face scrutiny as children.”

Moreover, some argue that Hip-Hop is the perfect artistic form for the religion of Islam specifically. Hip-Hop has previously been defined as the “costume for Islam” and “Islam in a different outfit” by scholars, and there are several reasons why. One of the proposed reasons is because the Qur’an, the holy book of Islam, is built upon rhyming units and has rhyme schemes of its own.

There’s a deep connection and history between Muslim people and poetry, and part of the reason may be because the Qur’an is objectively the most important book of Islam theology. So, how does poetry connect to Muslims within Hip-Hop music? Hip-Hop itself is closely related to poetry; some elements of Hip-Hop originated through poetic media, such as spoken-word and slam poetry. Omar also discussed that part of the reason he started producing Hip-Hop beats is because some Muslims consider playing instruments to be forbidden or ‘haram.’ Even though Omar’s family doesn’t agree with this perspective, his Saudi-Muslim school did not offer music classes of any sort, so he could not obtain music knowledge easily.

Consequently, when he felt the need to produce music, he turned to using beat-making technology rather than instruments.

He’s still a little upset that he never had the chance to learn any instruments when he was young, but he excitedly announced atthe interview that he aims to teach his young son, and consequently himself, gradually over time. It’s clear that there are strong relationships between the Qur’an, poetry, and

hip-hop; especially within Omar’s upbringing and character.

Another reason why Hip-Hop is considered a good fit for Muslims is because many Muslims, particularly young Muslims, “do not usually see themselves in media.” In this day and age, many young people compare themselves to the media they consume, and if they don’t see people with similar characteristics to themselves, they “feel ignored.” It’s important to note, however, that this phenomenon specifically refers to mainstream media. Hip-Hop portrays itself as the voice of those who are not present in mainstream media, and that is why these “ignored” Muslims feel comfortable producing within the genre. In addition, Hip-Hop, as a culture, is very rich, diverse, and creative in its origin and development, which means that people tend to gain “cred,” or are respected and taken seriously, within non-mainstream spheres once they join its cultural movement. Previously ignored and unprioritized Muslims become part of a ‘cool’ group of others by engaging in HipHop. They acquire what has been labeled the “Muslim Cool” by scholars, such as Su’ad Abdul Khabeer.

There are many justified reasons as to why someone like Omar would participate, and flourish, in the genre of Hip-Hop, but who inspired him to begin his artistic mission?

Well, Omar has many role models inside and outside the borders of the genre. He’s also inspired by people of many different time periods. Alexander Maloof, a composer during the 1920s, is one of Omar’s major inspirations when it comes to sample material. Maloof was one of the first musicians to ever, as Omar stated, “dumb down,” music of the Middle East for Western ears.

Although the music is reminiscent of “The Orient,” or the West’s mystification of “The East,” this music was a trailblazer for Middle Eastern music in the West. Western audiences wouldn’t appreciate the music until they could easily interpret it. It was also important that they could play it on their Western, systematized pianos, which, surprisingly,

don’t contain quarter tones. Omar, typically, uses versions of Maloof’s compositions in an ironic manner because of how typically “Orientalist” they sound, but they also serve to symbolize the -necessary- roots of successful Middle Eastern music in the West. Omar gives Maloof a lot of credit and respect for paving the way.

Following this idea, Omar also draws inspiration from American Hip-Hop artists who incorporate Middle Eastern elements into their music. He recalls being ecstatic the first time he heard a Timbaland song that had some ‘Arabian-sounding’ samples in it.

Finally, Omar is inspired by the Hip-Hop artists and groups he grew up listening to; including, Outkast, Pharrell Williams, and Missy Elliott. These artists are not affiliated with Middle Eastern culture, but they represent the other side of Omar’s hybrid identities.

Omar was raised in DC, and both Pharrell Williams and Missy Elliott are from Virginia, which is close by. He holistically represents his dual identities, and this can be seen by whose music he samples and whom he draws inspiration from.

The musical elements of Omar’s artistic collage is only a part of why he is impactful as a storyteller. Omar’s love for poetry is apparent; if someone were to see the lyrics for Omar’s songs detached from their instrumentals, written in poetry form, I think they would believe it is poetry in its truest form. One of Omar’s most prevalent poetic inspirations is Kahlil Gibran. As discussed earlier, he recited “Faces” by Kahlil in his performance at William & Mary. The same night, Omar also recited “Dead Are My People,”

“Although the music is reminiscent of ‘The Orient,’ or the West’s mystification of ‘The East,’ this music was a trailblazer for Middle Eastern Music in the West.”

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which is a poem in which Gibran speaks of the massive guilt on his shoulders because he is alive and healthy while many of hispeople were never fortunate to make it as far because of the Great Famine of 1915-18.

Omar is able to resonate with this poem because he has family members who live in the war-torn Syria, while he is living well in the United States. Even though Kahlil Gibran is from Lebanon, Omar is still able to identify with him on a deep level because of the idea of “Pan-Arabism,” or the concept that every Arab shares aspects of a common identity.

He’s been fond of this idea ever since he was a child due to his enrollment at the DC Saudi-Muslim school because there were Arabs and Muslims of many different nationalities at his school. He believes that he shares a common identity with all of them, regardless of actual borders.

Omar also discussed how his poetic inspiration can be traced all the way back to the pre-Islamic Bedouin tribes. He’s noticed that the poetry these tribes produced “in the middle of the Arabian desert” have themes that are still as applicable as ever now. Ever since the beginning of Arab poetry, male Arab poets have written poems that may be considered ‘feminine’ by Western audiences; common topics would include love, flowers, and nature. Omar writes about similar themes in his poetry and music. Once, he was called out by a Harvard professor, in poor taste, for being ‘more feminine’ than the other performers at a university concert. Omar was not offended by this- except for the fact that he believes no human presentation should be considered inherently ‘feminine’ or ‘masculine’-but he was intrigued because Arab culture doesn’t view the themes he and other male Arab poets are moved by as ‘feminine.’ Regardless of other people’s perception of his material and art, a significant part of his identity is being able to write and present these themes to his audience. Omar also acknowledged that he is privileged to safely write about any theme he pleases due to the ambiguity of his name and skin color, and also because he is male-presenting.

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One of the most noticeable aspects of Omar’s hybrid identities is his use of both Arabic and English in his songs. He’s able to use his knowledge of these two languages to make his storytelling unique in a couple ways. Sometimes he performs songs where he raps in both languages to make the different sections, such as the verses vs. the choruses, of the song more distinguishable, and other times he will rap in both languagages for a comedic, punny effect. I really enjoyed one of the songs he performed with the Middle Eastern Music Ensemble because he rapidly switched between Arabic and English. His use of the two languages not only enhanced his storytelling, but also promoted inclusivity at the show. He intends to reach as many people as possible by rapping in both languages, and he makes those who speak both languages feel uniquely heard.

“Omar’s love for poetry is apparent; if someone were to see the lyrics for Omar’s songs detached from their instrumentals, written in poetry form, I think they would believe it is poetry in its truest form.”

Omar may weave together themes, influences, and inspirations that originate from very diverse sources, but he richly collages them so that no piece is an imposter in his work of art. He creates his own beautiful and eloquent lyrics, but then he also incorporates a myriad of music, poems, and stories from others because he believes they are him and they all have a similar story to tell. I believe that Omar’s extreme thoughtfulness is what makes him stand out as a storyteller of the human experience because he acknowledges that we can all learn and grow from others in one way or another. Omar learns more about others through their art, and others learn more about Omar through his art. His collage will only grow

larger, brighter, and more eclectic for as long as he creates and performs his wonderful art. All of the recorded content from Omar Offendum’s visit, including the panel interview and performance with the Middle Eastern Music Ensemble, are in Swem Special Collections. I know that Omar will continue to inspire and entertain anyone who has the pleasure to meet him, and I hope that his collection will have the same effect

on the students and faculty at William & Mary. Finally, keep your eyes peeled for the release of Omar’s current creative project, “Little Syria,” which is a performance that integrates Hip-Hop and live Arabic instrumentation to tell the story of the first Syrian immigrants to live in Lower Manhattan. This ‘Hamilton-esque’ performance touches on topics including immigration, xenophobia, and ‘The American Dream.’

Courtesy of Omar Offendum on Spotify

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• Brush your teeth

• Take your vitamins • Pack your lunch

• Put on your mask Brush your teeth • Lock the door

• • • • • • • •

• Take your vitamins your lunch Go• Pack to class • Put on your mask Believe <3 • Lock in theyourself door • Golots to class Drink of water • Believe in yourself <3 Call yourlots mom today • Drink of water • Call your and mom today Live, laugh, love • Say yes Eat• Eat your veggies your veggies • Drink your milk Drink your milk • Say your prayers Say• Get your prayers

• Read Vinyl Tap!

Art by Brigid Cryan

Into It. Over It. Figure Triple Crown Records/September 18 After a four year hiatus from making music, Into It. Over It.’s new album, Figure, picks up right where they left off. Filled with the same emo guitar and indie rock vocals as their previous albums, Into It. Over It.’s Figure provides listeners with catchy riffs and introspective lyrics. However, Into It. Over It. does seem to have taken a turn from their previous music. The quality of the music in Figure is much more distilled and subtle than albums such as Standards and Proper. Figure lacks some of the upbeat tempos and intense riffs of the band’s earlier albums, showing a more brooding side of Into It. Over It. Overall, it seems that the lead singer and songwriter, Evan Weiss, has taken a more introspective turn in Into It. Over It.’s 2020 album.

Besides the more meditative quality of the music in Figure, what makes the album different from the band’s previous works is the lyrics. Throughout Figure, Evan Weiss seems to be looking to the past to learn how to deal with the unpredictability of the present moment. The title of the first song “They Built Our Bench Again in Palmer Square” situates the listener in a past relationship at the moment where it is about to end. Weiss sings “this is the night where our ending starts,” signifying that we’re beginning at the end of this relationship, but also verging on the present moment. Weiss reminds himself and listeners to “carry on” and not get stuck in past relationships, but instead grow from them.

In “Living Up to Let You Down,” Weiss continues this theme of not getting trapped in the past, singing that “we sing along / but the feeling’s gone.” The past is an ever present reminder of what went wrong in relationships in Figure, and Weiss encourages listeners to use the past as a learning tool for the present.

The overall theme of Figure is to learn from the past, but to not forget to move on. Evan Weiss chooses to portray this theme

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in his lyrics with images of creating and crafting art. In “Perfect Penmanship,” Weiss focuses on the imagery of songwriting, wondering “who controls the longest line” in our lives. Eventually, Weiss prescribes his own story to a past lover, saying “your subtle signature’s now the white-out on your fingertip.” Weiss takes the image of writing his own story in the song, but ultimately, the past lover has control over what part of Weiss’s story gets told.

The “white-out on your fingertip” shows how the people we know in our pasts have the ability to tell our stories in different ways, erasing and adding in memories at their own will. In “Brushstrokes,” past relationships are repainted as “a work of art that’s on display.” Weiss longs to be rid of the memories of past relationships and “brush this off as quieter nights.” This focus on crafting art throughout Figure coupled with the idea of looking at the past to prescribe the present offers an interesting question: are we the ones who write our stories, or are our stories written by those in our pasts?

For lovers of indie rock and bands like Owen and Hotelier, Into It. Over It.’s Figure is a must listen. Though more down-to-earth and subdued than their past albums, Figure takes readers on a journey of trying to decipher the past. For the highlights of this album, listeners can skip to “Living Up to Let You Down,” “Brushstrokes,” and “Dressing Down // Addressing You.” These songs showcase the band’s intricate drum patterns and sweeping guitar riffs. Though decidedly more introspective than their previous albums, Figure gives listeners just what they need when listening to Into It. Over It.; food for thought.

- Ceci Hughes

Idles Ultra Mono Partisan Records/September 25 Two years ago, Idles released their sophomore album, Joy as an Act of Resistance. Ever since, I’ve been anticipating the follow-up album to what was, in my opinion, one of the best rock albums of the 2010s. That day has finally arrived with the release of their new album Ultra Mono, and while it’s not quite as polished or as diverse as their previous work, it still has plenty to enjoy.

While for the most part, Idles continues to refine its trademark hardcore punk sound, Ultra Mono features a slightly more industrial and noisy sound than their previous efforts. The album gets off to a fiery start with the first track, “War,” which features some thundering guitar riffs and a few sections where the group vocal section devolves into guttural screaming. These group vocals reappear later in an even more devastating form on the chorus of “Kill Them With Kindness,” which also features a heavy, stomping beat, and is one of the biggest highlights of the album for me. However, the promotional single, “Grounds”, stands as my favorite song on the album by far. I love the distorted, repeating synth line and the eventual breakdown which leads into a growling guitar lead in the chorus. Joe Talbot’s socially-conscious lyrics and powerful vocals on the track left a lasting impression on me as well.

Previously, the band hasn’t shied away from politics, taking an unapologetically leftist stance on pressing issues like Brexit and capitalism, often doing so in a fun, allegorical way. On this album, however, they’ve chosen to take a more direct approach to politics, with mixed results. Many of these tracks strike me as blatant sloganeering, especially the anti-sexual assault anthem “Ne Touche Pas Moi.” While the messaging is correct, I must admit I rolled my eyes at the repeated shouts of “Consent! Consent!” in the chorus. This isn’t to say that Idles’ wit is gone; indeed, it shines

Many of these tracks strike me as blatant sloganeering, especially the anti-sexual assault anthem “Ne Touche Pas Moi.” While the messaging is correct, I must admit i rolled my eyes at the repeated shouts of “Consent! Consent!” in the chorus. through on “Model Village,” an upbeat song satirizing the “idyllic English village” as far-right and contradictory. And while I find the lyrics on “Mr. Motivator” to be a little tongue-in-cheek, I can’t deny that it’s a fun song to listen to. If you ever wanted to know Idles’ take on a workout song, look no further.

The main complaint I have with Ultra Mono is that the songs lack variety, and especially toward the end, the band seems to run out of ideas. Tracks like “Ne Touche Pas Moi,” “Carcinogenic,” and “The Lover” are forgettable, and the “loud and angry” formula starts to wear thin. Only one song, “A Hymn,” serves as a muchneeded cooldown moment on the album. I only wish there were more of them.

Despite some shortcomings, I enjoyed Ultra Mono overall. The strength of its good songs far outweigh its middling or lackluster moments, and it contains some of Idles’ best work so far. If you’re new to Idles, I’d probably recommend other albums, but if you’re already a fan, it’s a welcome addition to the Idles catalogue.

- Eamon Raftery-Sweeney

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Art by Brigid Cryan

Haiku Reviews 21 Savage and Metro Boomin’ Savage Mode II funny album art morgan freeman is on it??? i think it is cool - Eamon

Klô Pelgag Notre-Dame-des-Sept-Douleurs thoughtful chamber pop from the peace of seclusion “mélamine” goes hard - Justin

mxmtoon dusk this makes me calm carly rae jepsen is in it i love “bon iver” - Isabel

Owen Avalanche “contours” is a vibe but overall a let down not what I hoped for - Ceci

Phoebe Bridgers Punisher sad lesbian vibes harsh name for a calm album “halloween” best song -Eamon 45

Taylor Swift folklore she became indie “seven” is underrated the whole album slaps - Isabel

Abhi the Nomad and Kato On the Track Abhi vs Kato he’s done it again! abhi keeps on nomading sounds cool cool cool cool -Cara

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Staff Editor-in-Chief Emma Shahin

Head of Design Isabel Haber

Writers Justin Berg Cara Davis John Dietz Skyler Foley Isabel Haber Ceci Hughes Eamon Raftery-Sweeney Emma Shahin

Photography Isabel Haber Ceci Hughes Emma Shahin

Artwork Brigid Cryan

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