The Lumberjack



Students Serving The Cal Poly Humboldt Campus and Community Since 1929

Tag: album

  • Cemetery Boys: emo meets hyperpop

    by Savana Robinson

    The Miniplex, located in the back of Richards’ Goat, was dark with only a purple light emitting from the stage. People slowly shuffled in, some donning costumes in the Halloween spirit. The crowd was bustling with excitement, many concert goers with a drink in their hand. The show began around 9:45 p.m. and lasted about an hour and a half. Collectively, the boys put on a show that had a modern emo, hyperpop feel. The crowd danced and a small moshpit opened up in the center. With smiles on their faces, it was obvious that the crowd was happy to be there.

    Louie Lingard, Osha Fiuty and Benny Pavloff make up the local trio Cemetery Boys. Respectively, the boys go by NotLewy, MESpirit and beninpayne. The collective played a show on Saturday, Oct. 14. The show had a turnout of about 20 people, which was perfect for the tiny showroom in the back of the tavern.

    Playing more as a collective than a band, the boys took turns taking the stage, each playing a set of about ten songs. Pavloff went first, then Fiuty and Lingard last. Although they each had their own sound, they complemented each other at the same time.

    Pavloff dedicated a song to his girlfriend, Shannon. It was a heartfelt song where he stated he doesn’t know how she got him and falling in love isn’t like him.

    “Girl, you got me floatin’/ I be swimmin’ through your oceans,” sang Pavloff.

    Pavloff’s sound could be described as emo y2k electronic. His soft yet bold vocals mixed with the autotune and hyperpop backtrack blended well.

    Pavloff described his sound as influenced by Midwest emo with math rock samples and a mix of different types of vocals.

    “I have a lot of different things that I do. Sometimes it’s really harsh autotune, and very glitchcore-hyperpop stuff,” Pavloff said. “I’ve recently been branching out and trying to get my real voice more out there and just singing.”

    Fiuty’s sound was also drenched in hyperpop with an emo overtone. Bassy lines and quick lyrics made his music sound polished.

    “Real cemetery shit, yeah I’m in for life,” sang Fiuty, referring to his dedication to the group as a whole.

    Fiuty said that the group’s music has changed throughout the years.

    “It started with the emo rap wave that was happening in 2016, 2017,” Fiuty said. “We’ve all kind of developed and gone off into different directions with it.”

    Lingard played several songs off his mixtape “2k13” released Oct. 13. The mixtape has heavy overtones of trap.

    “Now we in a different league,” sang Lingard.

    Lingard has a sound influenced by a blend of genres including rap and witchhouse.

    “I’m really influenced by 2010s trap music. Chief Keef, Gucci Mane, Young Thug, Rich Homie Quan, stuff like that,” Lingard said.

    The group has been together since 2019, but took a break during the pandemic. They have played a total of nine shows together. Lingard and Pavloff are both College of the Redwoods students who plan to transfer to Cal Poly Humboldt.

    “We all fucking killed that,” Pavloff said.

  • NEVER ENOUGH: Album Review

    NEVER ENOUGH: Album Review

    by Jake Knoeller

    Originally printed May 3, 2023

    R&B artist Daniel Caesar has made his return to the music industry in style. In April 2022, he released a breathtaking single titled “Please Do Not Lean,” featuring BADBADNOTGOOD. 

    This song was just a reminder of how good Daniel Caesar can be. I personally consider “Freudian,” his first studio album, to be one of the greatest albums of all time. When I found out Caesar had a new album coming out on April 7 of 2023, I had high hopes.

    I was not disappointed. The album clocks out at about 54 minutes, which is not too long. I was left in disbelief at how amazing it was.

    • “Ocho Rios” 

    It’s not often that an opener of an album is my favorite song, but this album kicks off with an absolute fiery ballad. This is one of the best songs released this year. The lyrics are some of his most vulnerable to date. The drum patterns mixed with the guitar solo make this track otherworldly. 

    • “Valentina”

    Caesar gets a bit more smooth on this song. I just know people are calling it “a vibe.” It’s perfect for a sunny day and not sugary enough to be annoying at all. The track just feels like summer.

    • “Toronto 2014” 

    This is what many people would call a comfort song, with some relaxing production and beautiful singing from feature artist Mustafa. “I can hear the bells ringing, reminding us why we’re still here singing,” is a standout line throughout the track.

    • “Let Me Go” 

    Probably the most cathartic song on “NEVER ENOUGH,” with heartfelt lyrics about a relationship that has reached its end. Caesar sings “Baby, won’t you let me go,” on a high-pitched hook that will make you levitate when you sing along to it. This track hurts, but in the best way. Look at Caesar making heartbreak fun again. 

    • “Do You Like Me?” 

    Capturing a not-so-unique situation, Caesar doesn’t know if the woman he likes has good intentions. “Guess we’ll find out, guess we’ll wait and see,” Caesar sings over more top tier production.

    • “Always”

    The typical love song about always being there for someone who you aren’t together with anymore, and the outro will give you goosebumps. It’s just another example of Daniel Caesar making a song that ensures listeners will feel something.

    • “Cool”

    This track is much more quiet, but still gets its point across with an atmospheric sound and a soft piano instrumental. 

    • “Disillusioned”

    The second song on the album to bring a feature, and guest artist serpentwithfeet does not disappoint. The song is groovy with an overall good vibe. It’s nice to have a song that just makes you smile on an album with a lot of emotions.

    • “Buyer’s Remorse” 

    This song doesn’t do much for me, even though I love seeing Daniel and Omar Apollo on a song together. It’s hard to describe this song because there’s just not a lot going on, but it’s not bad.

    • “Shot My Baby”

    Kind of absurd. Caesar decided to write about killing his lover, and as if that wasn’t enough, the man she was cheating with too. He channeled his inner SZA on this one. “I caught my lady being untrue, oh what was I supposed to do,” Daniel sings. Guest vocals from Justin Skye and a strangely muffled guitar solo make this song a fun listen though.

    • “Pain Is Inevitable” 

    I really connected with this one on the first listen of the album. It starts off with quality strings with crisp vocals on a nice beat, but the breakdown is where the song really gets good. The arrangement of noises midway through the song is very hard to explain, but it’s another song that makes you float to outer space. The acoustic ending with the soft vocals adds a nice touch.

    • “Homiesexual” 

    The transition into the next song is smoother than Jack Harlow talking to a woman he likes. The name of the song is strange to say the least, but that doesn’t change how catchy it is. Ty Dolla $ign is featured on the track, which is a surefire way to make it even better. 

    • “Vince Van Gogh” and “Superpowers,”

    These are the two songs I consider skips on the album, both being perplexing to listen to both in terms of the production and Caesar’s lyrics. 

    • “Unstoppable”

     The final track takes the quality back up again. It feels like a fitting closer to a sensational album.

    In my opinion, the album is nearly flawless. If you haven’t given it a listen, I think you should. There’s something for everyone, unless you just don’t have good music taste. 

    If people weren’t talking about Daniel Caesar alongside modern R&B legends such as Frank Ocean and The Weeknd, now would be the time to start.

  • SZA’s second album gives a blunt evaluation of all those toxic relationships

    SZA’s second album gives a blunt evaluation of all those toxic relationships

    by Alana Hackman

    Following the release of her 2017 debut album, “CTRL,” SZA has graced us again. Known off-stage as Solána Imani Rowe, the singer recently delivered the juicy 23-track album “SOS.” It includes powerful vocal features from Travis Scott, Phoebe Bridgers, Don Toliver, and even a posthumous sample from Wu Tang Clan’s Ol Dirty Bastard.lmwd

    “SOS” is on the search for blood following SZA’s 2017 triple-platinum album “CTRL.”  Now “CTRL Deluxe” with the arrival of seven unreleased tracks this past June 2022, where she delivered a brutally honest 14-track journal entry assessing where she falls short in her relationships due to insecurities. 

     From apologetic melodies about her unshaven legs and lack of attractiveness to her ex in “Drew Barrymore” to longing for her father to be proud of her in “Normal Girl,” SZA has come back for vengeance with “SOS.” 

    Throughout the one-hour and eight-minute album, SZA enters an internal feud where she weighs the pros, cons, and desires she longs for within her past and present intimate relationships. Brutally honest once again, SZA doesn’t hold back in her sophomore album. 

    The 23 tracks are so personal and well-paced it feels like we’re listening to SZA’s stream of consciousness on a facetime call as her best friend.

    SZA approaches all of her tracks from a critical lens of herself and her past partners. She begs plenty of questions listeners have probably asked themselves at some point, which makes the album that much more relatable and enjoyable. 

    Does she want a committed relationship? Is she searching for validation and meaning from her romantic partners? Why can’t she seem to end things with her ex? Is she the toxic partner in these relationships? 

    SZA explores all of these questions in a straightforward conversational manner throughout the album. SOS spans multiple genres, presenting loyal listeners with a twist on the R&B genre we’ve associated with the St. Louis artist in previous years.

    We get a taste of SZA’s rapping abilities in “Smoking on my Ex Pack,” where the singer addresses the rumors and hate her exes have spewed towards her in previous years. The singer also spoils us with the indie-inspired hit “Kill Bill,” detailing her dramatic urge to kill her ex even though she still loves him. 

    She openly displays toxic traits in the alt-rock inspired track “F2F,” her vocals in which bear a striking similarity to Hayley Williams’, staged over a Paramore-esque beat. The lyrics dive into her pattern of having sex with other men just cause she misses her ex whom she continues to ignore for her own enjoyment.

    The honesty that defines the entirety of “SOS” is what has made it so addicting to returning fans and new listeners. 

    SZA doesn’t hide the lack of shame she feels after getting her ‘body done’ in “Conceited.” She candidly sings about her sexual past and how her “pussy precedes” her in “Blind.”

     Anyone who has been stuck in a whirlwind of lackluster situationships, or any intimate relationship that’s short of love and respect outside of the bedroom, can feel connected to SZA’s truthful verses. 

    It’s refreshing to see a female artist be so upfront about her sex life and toxic relationship traits. Which may be why she has gained newly devoted followers after “SOS” and kept the loyal fanbase she’s had since the release of “CTRL.”

    SZA’s fresh melodies and beats on “SOS” paired with her open honesty have allowed the album to break the Billboard record for the biggest streaming week for an R&B record. The album also is in its fifth week on No. 1 for Billboard’s top 200. 

    SZA has brought a relatable and open edge to the R&B table once again and has obviously earned her seat with the big dogs within the genre.

  • Music of the Moment 2

    Music of the Moment 2

    The long awaited return of God’s son, Nas.

    Regarded unanimously as one of the greatest rappers of all time and by many as having created the best hip-hop album to date with his 1994 debut, “Illmatic,” Nas has returned at the age of 46 with his studio album, “King’s Disease.”

    More than eight years since his last full-length album, “Life is Good,” Nas has been more active than usual in the last few years. In June 2018, Nas released his seven-track “NASIR” album, executive produced by Kanye West, then followed it up with “The Lost Tapes 2” compilation album in July of 2019.

    To set the tone for his new album, Nas released the lead single, “Ultra Black,” boasting the beauty of black life, a theme which is felt throughout the album and heavily featured on songs like “27 Summers,” “10 Points,” and the title track. In these songs, Nas lays down the definition of a true king: someone who is willing to work their way to the top, leave their baggage behind them and give back opportunities and knowledge to their people. In other words, a leader not a ruler.

    Produced entirely by Hit-Boy, with occasional assists from other producers, “King’s Disease” features a mixture of old school beats on songs like “Full Circle” and “Car #85” and more modern instrumentals on tracks like “Til the War is Won” and “Spicy,” a New York anthem featuring hometown rappers Fivio Foreign and A$AP Ferg. To compliment the tone of the tracks, Nas recruits features for over half the songs on the album, including unlikely appearances from Travis Scott’s new artist Don Toliver and Big Sean on the track “Replace Me.” Nas also reunites his old group, The Firm, to please fans of the old-school, with nearly four minutes of uninterrupted bars, on the track “Full Circle.” The features that stand out the most, however, both in terms of their quality and the surprise of hearing their voice alongside Nas on a song are Lil Durk with “Till the War is Won” and Anderson.Paak with “All Bad.”

    As Nas fans have come to expect, he delivers more of the signature story-telling style that caused hip-hop to fall in love with his music. He brings you into his world like no one else can with the songs “Blue Benz” and most especially “Car #85,” as Nas reminisces on life in the hood. Forever a part of him, mentions or allusions to the hood appear on the majority of the album, most powerfully on the track “Till the War is Over.” In this song Nas expresses his sympathies for single mothers and especially those who’ve had to bury a child, while Lil Durk provides the perspective of one of the children caught up in the streets.

    Following the longest break between proper full-length albums in his career, Nas lays all his cards on the table, dedicating entire tracks on “King’s Disease” to addressing the ugly, prejudiced state of the world and reflecting back on his 27 summers in the game with “The Definition” and “The Cure.”

    Around 7,500 people in the world can be considered one in a million with “King’s Disease,” Nas proves once again that he’s one of a kind.

  • Pop-Star Weeknd is Here to Stay

    Pop-Star Weeknd is Here to Stay

    The Weeknd’s fourth album, “After Hours,” has arrived

    The R&B villain, better known as The Weeknd, has returned with his fourth studio album, “After Hours.” In this album, The Weeknd revisits the same themes of drugs, lust and heartbreak found in previous releases, but this time, with a different approach. In the past, his music has come off generally unapologetic, but “After Hours” brings a mix of emotions on his lifestyle.

    After nearly a decade of partying and coming onto the scene in 2011, The Weeknd reveals on track eight, “Faith,” that he’s spent the last year sober. Still battling the urge to return to the fast life, The Weeknd comes to terms with the choices he’s made in “After Hours” and the mental war he’s fighting to avoid making those same mistakes.

    Coming into this project, The Weeknd set the tone by dropping two pop singles at the end of November, claiming the top position on the Billboard Hot 100 chart with his lead single, “Heartless.” His follow up, “Blinding Lights,” is currently peaking at number two on the Hot 100 chart in the wake of the album release. He followed up in the second half of February with the title track, “After Hours,” as an unofficial single. The song is slow to build, but is equal parts patience and pop, making it clear that the pop-star style is here to stay.

    “I will always prefer his earlier stuff. It’s just a sound you couldn’t have found anywhere else at the time.”

    Alexa Noperi, HSU film major

    Alexa Noperi is a film major at Humboldt State University, and she hasn’t been happy with The Weeknd’s direction since he dropped “Starboy.”

    “I will always prefer his earlier stuff,” Noperi said. “It’s just a sound you couldn’t have found anywhere else at the time.”

    The Weeknd’s gradual transition to pop music has left some of his day-one fans behind in the darkness of his mixtapes. Made official by his 2016 album “Starboy,” the style shift can be attributed to the success of his biggest single, “Can’t Feel My Face,” along with other pop efforts on “Beauty Behind the Madness,” including “Earned It” and “Angel.”

    When he released his first EP, “My Dear Melancholy,” in 2018, the day-one fans that were left behind were delighted by the return of a dark Weeknd. With his latest release, The Weeknd is likely to disappoint hardcore fans again, as he mostly leaves behind the dark, moody atmosphere of his earlier music to make room for the pop sound that generated so much success with “Starboy.”

    “After Hours” is a rollercoaster of indecisiveness. The Weeknd’s desires constantly clash with one another on his quest for true happiness.

    The album begins with chilly instrumentals that build into their own pop section. The Weeknd flaunts his typical unremorseful attitude, claiming, “It’s too late to save our souls,” on the song “Too Late.”

    “After Hours” is the most consistently solid project The Weeknd has dropped so far.

    Track four, “Scared To Live,” marks the first shift in his approach. He begins to express remorse for his actions, as well as an authentic desire to leave the fast life behind on the stand-out track “Snowchild,” reinforced on the next song, “Escape From LA.”

    Unfortunately, The Weeknd relapses, back to the fast life on his song, “Heartless.” This marks the beginning of the pop-star section that dominated the sound of “Starboy,” this time, with a heavy ’80s electro-dance influence.

    “After Hours” then enters its final section, returning to the slower, chilly instrumentals that opened the album on the “Repeat After Me” interlude. The Weeknd concludes his fourth album, echoing a desire to leave the fast life behind and asking for one last chance at a normal life.

    Though it may be missing the unique, dark sound of The Weeknd’s early music, found on songs like “D.D.” and “The Hills,” as well as the beauty and optimism found on “True Colors” and “I Feel It Coming” from “Starboy,” “After Hours” is the most consistently solid project The Weeknd has dropped so far.

    “It’s not bad background music to try on jeans to. But I don’t think I will be playing it again.”

    Isabelle Eddisford, HSU political science and dance major

    This album marks a growth in his discipline, but also in experimentation. Following the massive success of “Starboy” and the widely-positive reception of “My Dear Melancholy,” the less-than-spectacular “After Hours” might just leave all of his fans a little disappointed.

    Isabelle Eddisford, an HSU student studying political science and dance, felt disappointed that the new songs sounded the same. She described the album as something that would be playing in an Abercrombie and Fitch store.

    “It’s not bad background music to try on jeans to,” Eddisford said. “But I don’t think I will be playing it again.”

    With predicted first-week sales of 400,000 units for “After Hours,” The Weeknd’s continued success in the pop genre may mean the death of his dark times.