Album Review: Reunions - Jason Isbell and the 400 Unit

My taste in music has changed fairly significantly over the years. Unlike how I used to listen almost exclusively to hip-hop and rap music, I now try to branch out and listen to other genres. I’ve found that folk, Americana, and blues are more substantive and emotionally provoking than a majority of the popular rap which dominates the charts. Put simply, my taste is as balanced now as it has ever been. One of the main artists that has caused this transition in my musical preferences is Jason Isbell and his accompanying band the 400 Unit. I was introduced to Isbell through his 2017 release The Nashville Sound, which paired crushing sentimentality with relevant and topical political statements. I have also gone back and listened to most of Isbell’s discography, holding Southeastern as the standard to beat for all future projects of his. After almost three years, Isbell and the 400 Unit are back with their newest album Reunions, which did not disappoint.

The lead single for Reunions, “Be Afraid”, alarmed some longtime Isbell fans. This track is a departure from Jason’s typical homegrown and heartfelt sound which so many have come to love. Instead, this folk-rock track relies on its production more than it does its lyrical content. That isn’t to say that it is a bad track by any means, but many hoped that the rest of the album’s songs were a return to form for Isbell. They certainly were. The next singles to release, “What’ve I Done To Help”, “Only Children”, and “Dreamsicle”, featured the brilliant storytelling which is expected in Jason Isbell’s music. These tracks brought tears to my eyes with cutting sentimentality, arrangement, and delivery. I knew I was in for a treat with this project.

Come the time of its release, I had tissues nearby and candles lit to enjoy the experience for whatever it was going to be. Some of the new tracks were especially emotional first listens, but there was a healthy balance of energy which didn’t make this too somber of a listen, increasing its replayability for me. The magnetic guitar lick on “Overseas”, the poetic lyrics featured on “River”, and the playful but poignant reflection found on “It Gets Easier” are Isbell at his best. The project ends with the touching “Letting You Go”, a demonstration of Isbell’s love and commitment to his daughter, which will likely be played at every wedding for decades to come. Most of the tracks on this projects have held up through many, many listens for me.

Most of them have. There are some issues I have with this project, but I’d generally describe this album as great. That being said, “What’ve I Done To Help” seems unnecessarily long, “Running With Our Eyes Closed” is a love song which is unfortunately forgettable for me, and the tone of this album fluctuates wildly from track to track. These are the only problems I have with an otherwise addictive, nostalgic, and wonderful project.

I found the New York Times’ story about Isbell and his amazingly talented singer-songwriter wife Amanda Shires very interesting. It seems that this album was difficult for the couple to create, but had I not known that beforehand, nothing in the album would’ve indicated any sort of struggle between the two. I sincerely hope that they have settled any disagreements which may have arisen when making this project, and it seems that is the case after their Brooklyn Bowl Nashville MusiCares relief performance of the album. I highly recommend checking out Reunions. Thanks for reading.

Favorite tracks: “Dreamsicle”, “Only Children”, “Overseas”, “River”, “Letting You Go”

SCORE: 7/10

Why The Last Dance Was Everything I Wanted It To Be

Growing up in Illinois, I felt the lasting effect of Michael Jordan’s legacy every day. All of my basketball-loving friends tried to emulate his style, confidence, and performance on and off the court. His sneakers were status symbols indicative of an awareness to both sports and streetwear culture, signaling to others that you knew all about the greatest player of all time. Jordan’s reign ended after winning his sixth NBA championship just months before I was born. I was able to watch Derrick Rose’s historic MVP season with the Chicago Bulls, but nothing he did came close to the greatness and dominance Jordan consistently delivered. Highlight reels and research taught me who Jordan was as a player to some extent, but it wasn’t until the long-awaited documentary The Last Dance that I got a real sense of the magnitude Jordan’s career and legacy carried. The Last Dance was everything I wanted it to be.

It’s easy to forget athletes are people, too, when they’re performing at a nonhuman level. For all of the MVP seasons, scoring titles, championship rings, and “How did he just do that?!” moments which made up Jordan’s career, it’s easy to forget that he was also an emotionally complex individual trying to navigate uncharted territory for an NBA player, because no one had ever achieved his level of success and stardom up until his career. The Last Dance offered a rare and insightful peak behind the curtain, explaining Jordan’s mentality, decision-making process, and personal reflections for the amazing career he had. I wound up appreciating him more not only as a player, but also as a man.

The interpersonal relationships NBA players, coaches, and managers have with each other have always fascinated me. There’s a certain level of politics involved in the moves made by organizations, and creating a legacy requires a multifaceted, coordinated effort from many highly skilled individuals. The Last Dance revealed how Jordan pushed his teammates to greatness, respected his opponents, and dealt with coaches, owners, and the press all at the same time. It’s interesting to me that Jordan seems to maintain good relationships with most of his colleagues and competitors over the years despite their intense rivalries on the court.

This documentary also filled the holes and gaps of knowledge I had about Jordan’s career. His early playoff losses, his stint playing minor league baseball in-between threepeats, and his personal struggles with gambling and the death of his father were all explained very well by The Last Dance. The highlight reels and never-before-seen footage were spectacular, as well, frequently sending shivers down my spine.

To me, it’s simple. Michael Jordan is, undisputedly, the greatest NBA basketball player to ever step foot on court. His undefeated finals record, his larger-than-life celebrity status off the court, and the professionalism which matched his unmatchable skill speak for themselves. In the time of crisis we find ourselves in, it is great to reflect on greatness. The Last Dance allowed us all to do just that, and that is why it was everything I wanted it to be. Thanks for reading.

Westworld Season Three Review

When HBO released the first season of Jonathan Nolan and Lisa Joy’s hit series Westworld, it took everyone by storm. Set in an imaginary Wild West, season one was both visually captivating and thematically enticing, as it posed questions about consciousness, purpose, and ethics. The first season’s Western theme ended at its finale, as did the moral quandaries posed by the story, as season two decided to take a different direction.

While still intriguing, season two’s attempts at creating compelling storylines fell just short for me. The robotic artificial intelligences which grew so familiar from season one tackled the “real” world, but more of an emphasis was put on spectacle and intrigue than introducing interesting philosophical dilemmas. I hoped that this would change with season three, but unfortunately, it did not.

Season three did a lot of things right. Aaron Paul’s inclusion in this season was exciting when it was announced, but his character was more of a gateway to explore uncharted territory in the show’s universe. This world was visually fascinating, but the season’s storylines felt empty at times. The season’s villain, Serac, felt one-dimensional and poorly written, leaving an Anthony Hopkins-sized hole which still needs to be filled for this show to succeed. Pairing Dolores and Maeve against each other made little sense to me considering their unclear motives, even despite Evan Rachel Wood’s career performance. I’m worried as to where the show will go next. Ramin Djawadi’s score is still the show’s silver lining, but it loses impact when scenes aren’t earned and tension isn’t established.

I didn’t hate this season by any means, but I certainly hoped for more, especially after its promising opening episodes. Hopefully the show’s future offerings are a return to form for a show I once adored. Have you watched season three yet? Bring yourself online and let me know what you thought. Thanks for reading.

The Next Steps (GSU Blog Post #4)

Setting goals and having a plan for the future are common tips for success because they work. As I reach the end of my junior year in college (which feels strange to say), it’s time to take a step back and assess how I will be entering the workforce once I earn my diploma. The industry I’m interested in is booming, and I’m hoping the skills I’ve been developing will be in high demand once that time comes.

COVID-19 has been incredibly disruptive for a variety of reasons. Besides sending me packing from school and distancing me from some of my loved ones, this coronavirus pandemic also put a halt to multiple potential internship opportunities which had presented themselves to me at the beginning of the year. Hopefully when things return to a new normal, I will be able to secure a position at a company where I will get my foot in the door as I take steps toward my eventual career in digital content writing.

Success for me will include incremental steps toward the unforeseen future. I hope to obtain a job which where I can use my skills of effective writing, collaboration, editing, and research. I’m taking all the right steps by giving my schoolwork a lot of attention and maintaining a personal blog. In the coming years, I’d like to work my way up in content writing and editing position, eventually into content management and strategy. The field I’ve chosen is somewhat interrelated with marketing, which opens a lot of doors for me. I’m excited to continue on the journey I’ve started, and update you on how that is going every step of the way.

Album Review: Fetch The Bolt Cutters - Fiona Apple

Eight years after her critically-acclaimed album The Idler Wheel…, Fiona Apple has returned with the long-awaited release of her newest project Fetch The Bolt Cutters. In the time between records, Apple has both refined her sound and grown comfortable enough to express the pent-up emotions which make this such a compelling release. From the vocal performance to the addicting and tension-building melodies throughout, there is very little I would change about Fetch The Bolt Cutters.

Fiona Apple may be the only artist I can think of who can pull off leading with an opening-track which initially sounds like a grand piano ballad that then ends in manic dolphin-like sounds. “I Want You To Love Me” does just that while simultaneously setting the tone for the coming tracks, which is moody, raw, and desperate at times in all the right ways. The second track, “Shameika”, is a track I have trouble comparing to any song I’ve ever heard. The chorus is inspiring, and the backing instrumentation is amazing here. I love and respect the idea of Fiona Apple holding onto the confidence given to her offhandedly by the validation of a Black girl when she was younger. The title track of this record is perhaps the quarantine anthem, as we are all thinking about how we’ve “been in here too long”.

This album’s momentum never slows. Opening track four, “Under The Table”, with the lines “I would beg to disagree, but begging disagrees with me”, proves Apple’s brilliant lyricism. Each song has something unique to offer, providing various perspectives on an array of issues in which Apple seems to condemn the world around her. I can’t blame her for doing so. Song after song, from “Relay” and “Rack of His” to “Newspaper” and “Ladies” offers a unique sonic and thematic composition which make this album singularly unique. “Heavy Balloon” and “Cosmonauts” deal with heavy subject matter without being overbearing or preachy. Everything here is just perfect.

This album climaxes on the incredibly introspective and expository “For Her”, which left my jaw on the floor. Apple seems to have processed the traumas relayed to her by a friend on this project, which is a cathartic expression of angst and a general disapproval of the system. “Drumset” and “On I Go”, the album’s closing tracks, serve as a perfect epilogue to the non-narrative story told by this album, which packs so much substance into its runtime.

This is very much Fiona’s project as she wrote every song on the album. Fetch The Bolt Cutters is receiving well-deserved critical acclaim. I highly recommend getting lost in this project - it has joined my permanent library of albums on rotation. When a record is as perfect as this one is, there’s little that can be justified or explained that fully encapsulates its significance. Go listen to this album - there’s nothing to change about it, and everything to gain by experiencing it. Thanks for reading.

Favorite tracks: “I Want You To Love Me”, “Shameika”, “Fetch The Bolt Cutters”, “Under The Table”, “Relay”, “Rack Of His”, “Newspaper”, “Ladies”, “Cosmonauts”, “For Her”, “Drumset”

SCORE: 10/10