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I always have a hard time reviewing hip-hop records, because there’s so much to them. You have the beats, the words, and a lot of scribbling into the void, and hope for someone to hear. That’s where I find myself in trying to review “Shadows on the Sun”. I find myself scribbling and trying to figure out how to paint a picture with a confident prowess, and yet, I fail. Brother Ali is one of those artists who receives a lot of acclaim, yet many people haven’t heard of him or his work. This blog probably won’t change that, but at least it can shine light on “Shadows on the Sun”.
“Shadows on the Sun” is the second studio album from Brother Ali, and with it, he presents a wealth of lyrical elements that are urgent, important, and speak volumes to the artist. It’s not just another hip hop record, mind you; it’s got a lot of different samples, moments of bliss, and can be bass-heavy at times. There’s a certain bravado to it, mind you, as a lot of rappers, but there’s also a conscious focus at times, similar to that of Talib Kweli.
“Shadows on the Sun” features 18 songs of what can only be stated as conscious hip hop. Brother Ali presents a diverse range of perspectives on life, without being preachy, which makes the record all the more urgent and critical. It’s a standout hip-hop record with over an hour of music to keep you engaged.
Favorite tracks: “Room With a View”, “Champion”, “Win Some Lose Some”
At this point, Frankenstein has been talked about to death. It’s much like Dracula, done to death. However, we now have a new version of it on Netflix, and I wanted to take a look. This review is more of an exercise in writing, as I won’t simply say it’s good or bad; instead, I’ll try to think a little more about it.
First and foremost, Frankenstein doesn’t focus on a monster story in the traditional horror sense. Often, we get the notion that science has gone wrong, but that’s not what we get regarding this movie. Instead, we are presented with the idea of father and son, a battle between creation and the creator, told through two narratives. There’s a sense of abandonment, identity, and the director doesn’t make the creation a “monster” that has no depth. The novel does this well, making you figure out who the real monster is and whether the creation is not to blame, but rather a more personal effect to be discovered.
You cannot go through the movie without applauding the set design. I loved the costumes and the visual elements, all of which help bring the story beyond the pages of the book or the screen, for that matter. Del Toro lavishly works through a tactile visual design flow, bringing Gothic horror to a new level. There is a great deal of attention paid to the gore, to the creation, the science, and the medical elements as well. There are emotional wounds that are visually represented, and perhaps that is scarier than the story alone.
One thing that I wanted to emphasize, and something I saw immediately, is that this is not a traditional horror movie. In fact, Del Toro himself said that Frankenstein is not a horror movie. It’s not going to get you to that place; although it can be horrific at times, it is not played out that way. I agree with that, it didn’t hit me with the horror mallet. Instead, it hit me with a dramatic focus on emotional drama that happens to have elements of Gothic storytelling and horror. The pivot is interesting because audiences are probably expecting something familiar, but instead, we get a saturated drama that focuses on human emotion more than the traditional notion of horror. The drama prompts you to think about monsters in a different light, and rather than fearing them, we strive to understand them. That depth makes this an outstanding film that is worth watching.
Haven’t read the book? What are you waiting for? Buy “Frankenstein” here, then watch the movie on Netflix.
2006 was an interesting year for me; I was living in Los Angeles and was in college. The Art Institute isn’t there anymore, but I’m glad that I went to college and even got a master’s, and along the way I’ve had many different soundtracks to push through, including Pigeon John’s fourth record, “And The Summertime Pool Party”. Released in 2006, the MC would solidify himself as a positive rapper with a lot of swagger, melody, and much more.
The record, like many hip-hop records, deserves more than just a skip to the prominent tracks. Pigeon John assembles a record that is not only cohesive but also hilarious at times, serious at others, and a slice of life that truly showcases the MC’s prowess. From the opening track, “Welcome To The Show”, to the last song, “Growin’ Old”, the record features a diverse range of music and melody that, while remaining true to hip hop with its rhymes, also filters through something else. There’s just a lot to dissect here, and it’s a fun summertime type of record, hence the name “And The Summertime Pool Party”.
Released in 2006, Pigeon John toured for the record, and I got to catch him in Seattle at a sold-out show with the likes of Ohmega Watts. This record is just fun; it features many standout tracks and flows exceptionally well. John’s lyrics range from personal struggles to storytelling about random things, and, of course, bravado, like any other lyricist. It’s positive, and that’s something that holds up well even after all of these years.
The year was 1999, and while I was still trying to figure out and navigate high school, the band Saves the Day put out what could be one of the more essential records in the history of emo, pop punk, or whatever you’re going to want to classify this record as. Once again, I’m going to turn to the definition that was placed in Rolling Stone Magazine, which cited “Through Being Cool” as being a pop punk record, one of their top ones at that.
The second record from Saves The Day would show them slowing down, even though their first record said they couldn’t. Instead of a melodic hardcore punk sound, the band opted for something a bit more pop-influenced, and it worked. “Through Being Cool” features song after song of catchy tunes that mesh well together. The record just fits, and it comes together in 12 songs, 33 minutes, and is somewhat magical the way it works out. I’m not just waxing poetic about the record; it really is one of those records that you couldn’t help but listen to on multiple occasions. “Through Being Cool” is a melodic, rocking pop punk track that holds up very well. The record appears on numerous top 10 lists and top 50 lists if you delve deeper into the genre. I, for one, love “Through Being Cool” and recommend it heavily as part of your music collection, if you don’t already have it. I’m preaching to the choir, I’m sure.
Christian music doesn’t always get the notice it should. Stamp the label on any record, and people automatically shun it. That’s a shame, because there are some excellent records out there that don’t get enough love, and one of them is none other than “Through Thick and Thin” by the band Dogwood. Dogwood is a San Diego, California band that put out a slew of records and toured the country with Payable on Death, Project 86, and Slick Shoes, just to name a few. With the sophomore record, the band tightened up and created a record that stands tall today.
The opening track, “All Hands on Deck,” is going to push you into the skate punk sound of “Through Thick and Thin”, then the band puts things into melodic punk with “Preschool Days” and follows through with track after track of skateboard-infused punk rock. I was enthralled when I first heard the second track and saw a video for it. I immediately made comparisons to NOFX because of the vocal stylings.
Those who are atheist, agnostic, non-religious, or just don’t want to get preached to shouldn’t have to worry too much. While “Through Thick and Thin” has a perspective that differs from yours, the music speaks for itself and is good overall. Every track is riddled with punk rock, and stylistically, it can be compared to many new school punk rock that came out in the mid to late 1990s.
In 2025, a continuation of the series “I Know What You Did Last Summer” was released in theaters, and of course, your boy had to go and see it. I didn’t. Don’t get me wrong, I wanted to, but I just had life in general hitting me fast. It is now streaming, and I was able to catch up with the film, and wanted to review it, but instead of going through plot points and scenarios, I will be looking at it from a few points of view, and then giving a final opinion. Consider this an essay of some kind, or an exercise in writing, as I usually like to think of this blog as, because why not? It’s my blog.
How far does nostalgia get you? In 2025, nostalgia for all sorts of things is enormous. The movie does a good job of bringing us back to the original film, without overcomplicating things or making a parody of itself. Jennifer Love Hewitt and Freddie Prinze Jr. reprise their roles, but they are older this time (for obvious reasons) and are thrown into the mix. The film balances the nostalgia nicely here, and the group that gets involved in the accident that sends them on a path of fear needs their help. I liked how the film pushes them into the mix, without heavy hands, and there is a bit of reluctance from Julie, whereas Ray jumps into the hero category by warning the city of the looming violence. There’s also a throwback dream sequence to Buffy, Sarah Michelle Gellar, in which she is a ghost. It sharply takes curves here, and while there is nostalgia at stake, it doesn’t loom on it too much, which is appreciated for sure.
“I Know What You Did Last Summer” doesn’t reinvent the wheel. It doesn’t change the ideas of the past, and doesn’t even go too far away from what you may expect from the movie’s plot points. The plot hinges on the same idea, a car crash, and the fallout of guilt that the characters feel. The film focuses on the guilt, the pact of silence, and the suspense of being discovered by a hidden villain. The masked villain hunts them down one by one, and seems almost super natural in scope, albeit vulnerable to some extent. The group fights back in several moments, and the villain vanishes when they do, but that doesn’t stop the gore and violence from being turned up.
To get to the original, you have to go to the 90s and revisit the movie. However, in 2025, the field of horror has evolved. The genre and setting are similar, but the installment has updated visuals, social media elements, and characters that are sometimes a little more savvy. There are rules here, followed, with the derivative nature of the final girl, the masked killer, the hook, and everything you would expect from a follow-up to the movie. Though it is supposed to stand on its own merit, there is still a sense of fellowship to the rules of the horror genre in place.
While this movie has a sense of purpose, it moves fast. For instance, there is self-awareness regarding the moving parts. The jump scares are timed nicely, but it’s a film that highlights the dread of secrets and haunting from a powerful villain, although revealed with a callous brush if you really think about it. There is a Red Herring, but I won’t spoil the plot.
“I Know What You Did Last Summer” serves as a nice reimagining, a continuation of the series, without falling short of my expectations. I liked the use of nostalgia, the switch-hitting mechanism of the villain, and the overall reach of a sequel to come. It’s a solid horror movie with enough to entice and delivers on the premise, without reinventing the sequel, reboot, or remake wheel. It’s a solid outing, and heck, it’s streaming for those who are into that. Physical media is out there, and if you click on some link I throw around here, you can help the blog; otherwise, get some popcorn and enjoy this one.
Melody and punk sometimes get a scoff, but it’s so good when done right. Lagwagon is one of those bands that tour with many bigger acts, but it always seems to get placed in the secondary slot rather than headlining stadiums alongside its counterparts. They have released many records, and with the 1998 release of “Let’s Talk About Feelings,” the band would solidify their place in the pop punk book that many compatriots land in.
Twelve tracks are found on the original release, with many B-sides and outtakes coming through on the re-release. However, the original still holds it down with metallic riffs at times, melodies that you can’t forget, and a focus on life in general. There’s a lot of back and forth with the sound sonically, recorded with that Fat Wreck Chords sound that was so prevalent in the 1990s. There’s a good polish to the record, and it’s a solid outing for the band that keeps pushing themselves to put out melody, punk, and rock ethos altogether. It’s a marriage of sound, good guitar work, and melody. I recommend it as one of the better examples of new school punk rock from the late 1990s. “Let’s Talk About Feelings” will not let you down amidst other poppy rock records you may have lying around.
Album number three from the Bremerton boys would be my entrance into punk rock. It was 1996, and the band was touring with Less Than Jake, opening up for their shows with the Hippos, and I got to see them live and in person. They played the Roxy in Hollywood, and the show was sold out. I got a scalped ticket and saw them play a 30-minute set, which included many tracks from this very record. “Life in General” is a staple for me because I bought the record on CD, cassette, and MP3, and still listen to it today via streaming. The band seemed unstoppable in their mix of pop and punk with “Life in General”, and that’s something that stays strong even today.
When people ask me to recommend records, I often cite this as my favorite in punk rock. The band would grow into a monster, shaking the dust off their Christian roots and becoming a more generalized band. The general audience is not a downside, as the band found ways to illustrate the record title with tracks that spoke to the whole of existence as a young person. To this day, “My Mom Still Cleans My Room”, “The Wonder Years”, “Doing Time”, and “Correct Me If I’m Wrong” stand tall amidst the growing-up phase, and yet they still ring accurate as an adult.
“Life in General” is one of the top iconic punk rock records you will want to listen to repeatedly. The band just solidified the skate punk, pop punk, and punk rock labels to fit into a classic that will not go away. No matter what, Mxpx punched their card to punk rock glory with the release of this record.
Goldfinger on the internet gets confused with the movie, which is not half bad, mind you, but I always get frustrated when looking for one and end up getting the other. The two are sometimes interchangeable, and the Wikipedia article also has a link to the soundtrack! But we are not here to talk about that; we are here to review the Goldfinger record “Goldfinger,” released on February 27, 1996.
A 13-year-old me went to the record store and picked up this record after hearing “Here in Your Bedroom” on KROQ. The bass-driven standard from the band really speaks to the singularity of the punk rock concept the band was pushing. The pop punk moniker is strong on this record, with much attention paid to the melody of sound rather than the raw guitar work. That’s not to say you don’t get that fast-paced variety, but you definitely get a sense of melody throughout. Of course, “Here in Your Bedroom” highlights this.
Overall, the record feels good, like a hug from a familiar friend. It doesn’t stray from any path, is different from other punk records from the same year, and still holds up well. “Mind’s Eye”, “King for a Day”, “Mable”, and so many other tracks on the record hold up really well and prove that they were on to something in 1996 that they are still holding onto in 2022. Feldman’s songwriting stands out, and you’ll love the melodies on the record.
Goldfinger’s “Goldfinger” is an introduction to a band that would expand their catalog with maturity, speed, and bravado over the years. My favorite track is the reggae-infused, ska melody-driven “King for a Day”, which truly features a change of pace from some of the other tracks found on this record. Listening over again, the bass line just speaks to me, and heck, lyrically, “making plans to rule the world, spread yourself way too thin, wishing that you were king….” Still says something.
I was sitting in a cubicle in Los Angeles and overheard an argument about “Good Kid, M.A.A.d city”. One person said it was the best record of 2012, the other stated that there was something else, and I was just looking at escort ads. Cubicle land sucks unless you have headphones and an endless stream of music or comedy. I have always been lucky to be able to wear headphones, and that’s where I think Kendrick Lamar’s sophomore record is best heard. It’s a subdued record with many calming beats, interesting rhyme schemes, and something for every type of hip hop fan.
“Good Kid, M.A.A.d city” is a record you can’t just listen to and skip tracks. It’s a recording that requires you to sit still, put on headphones, and drift off into what the MC is saying. He’s telling stories from the hood, but it is not glorified at times, and it is not as gritty as some of the earlier 1990s hip hop that ran the gamut of offensive material. That’s not to say that there’s no street cred here, as it was produced in large part by Dr. Dre. You get a mix of styles, beats, and an eclectic blend of hip-hop tunes. It’s a solid release that I happen to go back to a great deal, even with a decade between us. I hope I don’t die in a cubicle job.
