The Sunday after Christmas, you’ll have spent plenty of quality time with your own family — so settle in and make some time for TV’s favorite families, as MeTV airs their “Very Special Sunday” marathon of classic sitcom reunion episodes. Starting at 11am EST on Sunday, December 28, 2025, MeTV will air five classic reunion episodes, featuring the casts of Happy Days, The Andy Griffith Show, I Love Lucy, Everybody Loves Raymond and All in the Family. Kick back for seven solid hours of retrospectives, reunions, and best-ofs, from the ’70s through the 2000s.
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The holiday season has begun, and the one holiday that families and friends look forward to the most this month is relishing a giant feast, sitting together across a table. But long before Instagram tablescapes and Friendsgiving parties went viral, Thanksgiving began in 17th-century America as a harvest celebration — an annual moment of gratitude, good food and community.
Over time, Indian households have embraced global festivals in their own way, and Thanksgiving is no different. This tradition has now become a canvas for experimentation, with Indians giving the side dish and even main dish a desi tadka not just it in metro cities, but also taking the trend abroad.
Sheena Padda (@platedbypadda), a California-based creator, has taken her love for Indian street food and given a Thanksgiving twist to the classic sweet potato casserole, skipping the turkey this year. She has created a chaat with different layers of flavours — sweet, tangy, spicy and crunchy — all in one bite. “I swapped the crispy base for roasted sweet potato rounds, topped them with roasted brussels sprouts and butternut squash for a cosy fall flavour,” she shared. Topping it all off with a maple cumin yoghurt and a drizzle of mint chutney, spiced pumpkin seeds and chaat masala for the perfect balance of Indian flavour to the table.
Dolphia Arnstein (@dolphia.n.arnstein), a Boston-based creator, takes the vegetarian route with her Indian-inspired stuffed Koginut Squash, replacing the traditional stuffed turkey. She begins by roasting the pumpkin simply, letting its natural sweetness shine. The filling, however, is where the dish truly turns heartfelt—an aromatic blend of black mustard, jeera, onions, garlic and ginger cooked down with dal and rice into a comforting, khichdi-like mash. Once spooned back into the tender squash and finished with fresh coriander, the dish becomes a celebration of home-style Indian flavours.
Meanwhile, Lavisha Bhatt (@lav.and.spice), based in Washington, D.C., takes the much-loved Thanksgiving potato side in a fun direction by turning tater tots into a chaat. “I’ve never been a traditional turkey-and-mashed-potatoes girl — I love dishes that feel alive, playful, and full of bold flavours. Chaat has always been one of my favourite things to eat because it’s such a beautiful mix of textures and flavours — sweet, tangy, spicy, crunchy, creamy, all in one bite. But making it the traditional way can take forever since you usually have to boil, peel, and chop potatoes. Using tater tots was my little lightbulb moment. They come out golden, crispy, and so fun, and they make the whole dish feel effortless,” she says.
Once her tots were ready, she loaded them up with yoghurt, tamarind and mint chutneys, onions, cilantro, jalapeños, sev, and pomegranate. “It becomes this gorgeous, cheerful, shareable plate that feels festive without being complicated. It’s the kind of dish that instantly brightens the table,” she adds.
On the other hand, in India, Pune-based creator Vasanti Bhadkamkar-Balan (@signatureconcoctions) takes inspiration from cornbread — a staple on Thanksgiving menus — and gives it a Gujarati makeover. “This year, I wanted to bring a little Thanksgiving spirit into my kitchen, so I infused the classic dhokla batter with jalapeños, green onions, and sharp cheddar. The result is a golden, fluffy Jalapeño Cheddar Dhokla with the airy, tangy texture of khaman combined with rich pockets of cheddar and a gentle jalapeño kick, making it a standout addition to any festive spread,” she shared.
What are the chefs saying?
As these creators reshape the traditional American feast, chefs back home are seeing this cross-cultural cooking as a natural evolution of how India embraces global food trends.
Chef Vicky Ratnani notes that even though the festival revolves around turkey, it can be easily substituted with other ingredients like tandoori sweet potato or a cranberry chaat. He recalls the desi Thanksgiving he had previously, which included many such dishes. “I had done a hummus with pumpkin, tiny black raisins, and khakhra crisps, apple and fennel kachumber, masala spiced corn on the cob. For a vegetarian twist, I opted for a maple and chilli tandoori steak made with paneer. You can do a whole lot of experimentation with Indian ingredients, even if you wish to include turkey, like a Hyderabadi-style turkey tikka biryani,” he opines.
For desserts, he says, gajar ka halwa cheesecake, kheer with pumpkin and toasted pecans and chocolate with pecan turnover pie, like a gujiya, work really well.
Adding to the vegetarian vibe, author-chef Anahita Dhondy recalls a recipe that she worked on with the US Embassy, where she roasted a gobhi and served it with cranberry sauce. “This kept the classics alive, along with an added Indian twist. You can always incorporate these twists and also include a variety of Anglo-Indian classics on the table, such as cutlets and puddings, which could be chai-flavoured and spiced with cardamom, like a masala chai crème caramel,” she adds.
Echoing the statement, chef Manish Mehrotra recalls creating a whole desi menu for Thanksgiving in New York once. He had played with sage paneer, chilli tomato glaze, tandoori cauliflower, cranberry kulcha, bacon kulcha, and more. “Indian cooks have always excelled at global dishes without losing their essence. And I think if people can come together for good food, chat, and memories, it works. The framework is familiar, but the flavours are open to experimentation,” he adds.
Classic Trailer Rewatch: Danny Boyle’s ‘Sunshine’ Brilliant Sci-Fi Film
by jummy84
written by jummy84
Classic Trailer Rewatch: Danny Boyle’s ‘Sunshine’ Brilliant Sci-Fi Film
by Alex Billington
November 23, 2025
Source: YouTube
“If it dies, we die.” Sarchlight Pictures originally released this sci-fi classic Sunshine back in 2007, but no one went to see it back then when it opened in theaters. Now 18 years later it’s considered one of the best modern sci-fi movies, even with the controversial horror ending. Made by director Danny Boyle & writer Alex Garland as another one of their collabs after the original 28 Days Later (made 5 years before this) the film follows a crew trying to take a special payload to the Sun to help reignite since it’s “dying”. It’s one of my favorite films mostly for the intense realism & attention to detail. And its bleak but fascinating look at how being out in deep space makes people go mad. Sunshine is a sci-fi psychological thriller starring a great cast featuring Cillian Murphy as Capa, with Rose Byrne, Cliff Curtis, Chris Evans, Troy Garity, Michelle Yeoh, Benedict Wong, and Hiroyuki Sanada. The film takes place in 2057, where a group of astronauts aboard the Icarus II are sent on a dangerous mission towards the Sun. Posting these old trailers is also another excuse to say again how brilliant this film truly is and how it always deserves a rewatch if it has been a while since you’ve last seen it. Both of these trailers also use the epic Requiem for a Dream song.
Here’s two original trailers (+ the original poster) for Danny Boyle’s sci-fi movie Sunshine, from YouTube:


You can always watch more unforgettable trailers from the past in our “Classic Trailer Rewatch” archives.
In the year 2057, a crew of eight courageous men and women have embarked upon a lengthy journey to the Sun to reignite the dying star and save mankind from extinction. But when a terrible accident throws their mission into jeopardy, the crew find themselves fighting not only for their lives and their sanity, but for the future of us all. Sunshine is directed by acclaimed British filmmaker Danny Boyle, directing his 7th feature film at the time right after Millions (2004) and just before making Slumdog Millionaire (2008) next. The screenplay is written by Alex Garland. Produced by Andrew Macdonald; co-produced by Bernard Bellew. This initially premiered at the 2007 Fantasy Filmfest in Germany before opening in theaters in the US starting on July 20th, 2007. It only earned $3.6M at the US box office that year but has since become a beloved favorite of many sci-fi fans. Searchlight Pictures has the movie available to watch on VOD anytime.
Find more posts in: Sci-Fi, To Watch, Trailer
Westerns are always a beloved genre, but in the last few years, they’ve staged a major comeback — not just in new shows like Yellowstone, but with classic Western shows and movies becoming a major staple of both cable and over-the-air antenna TV. Our day-by-day weekly guide to classic Western films on TV will help you make sure you don’t miss your favorite, while also helping you discover new Westerns you’ll love.
A star rating of 5 out of 5.
28 years after it first launched on our TV screens, Midsomer Murders makes a thrilling stage debut.
Retaining all the heart of the beloved TV show, writer and director Guy Unsworth welcomes you to the county of Midsomer with a brand-new look at the episode and book that started it all: The Killings at Badger’s Drift.
The play takes place when well-loved spinster Emily Simpson is found dead and her friend Lucy Bellringer refuses to accept it was an accident. DCI Tom Barnaby and Sergeant Gavin Troy are called in to investigate, uncovering a world of hidden passions, long-buried secrets and deadly rivalries.
Leading the cast is Daniel Casey, the original DS Gavin Troy, who has been promoted to DCI Tom Barnaby. In an interview with Radiotimes.com, Casey admitted feeling a little “daunted” and “a little bit trepidatious” about the role, but he takes on the mantel left by John Nettles with ease.
Casey brings a quiet authority and warmth in the part that helps to ground the play. He’s the calming presence in the manicured wilderness of Midsomer, giving the audience a steady guide throughout.
Surrounding him is an assortment of eclectic characters, all expertly played by a handful of supporting cast; most of whom are playing two or three roles. It was quite a surprise to realise how few actors there were when the show ended.
Barnaby’s protégé, DS Troy, is now played by James Bradwell; delivering the same bad-driving and conclusion jumping fans of the show would be expecting. While the play is scattered with funny moments, Bradwell shows up for a lot of them; whether he’s the butt of the joke or simply being an over-eager detective, he offers up that touch of lightness the show is known for.
Casey told us in the run up that “if you’re a fan of the television series, you’re going to love the play”. As one of those said fans, it truly felt like I was watching an episode in action. The staging rolls between cottages to manors to murder scenes in seconds. It creates the feeling of escapism the TV show is known for. Accompanying this is a familiar score that brings tension and warmth throughout each scene, underscoring the mystery, the brutality and the quintessential English charm that its famous for.
More than anything, Midsomer Murders delivers exactly what theatre goers could hope for: a sharp, thoroughly entertaining whodunnit. It’s two hours of intrigue and charm that keeps you guessing until the very end. Just don’t be too confident you’ll solve it before DCI Barnaby.
Buy Midsomer Murders tickets at ATG Tickets
When can I see Midsomer Murders on UK tour?
15 dates and venues have been announced so far for the Midsomer Murders UK tour:
- 24th Oct – 1st Nov 2025 – London, Richmond
- 4th – 8th Nov 2025 – Malvern, Festival Theatre
- 11th – 15th Nov 2025 – Chester, Storyhouse
- 18th – 22nd Nov 2025 – Eastbourne, Devonshire Park Theatre
- 25th – 29th Nov 2025 – Sheffield, Lyceum
- 20th – 24th Jan 2026 – Truro, Hall for Cornwall
- 27th – 31st Jan 2026 – Guildford, The Yvonne Arnaud Theatre
- 3rd – 7th Feb 2026 – Brighton, Theatre Royal
- 10th – 14th Feb 2026 – Blackpool, Grand
- 17th – 21st Feb 2026 – Glasgow, Theatre Royal
- 24th – 28th Feb 2026 – Nottingham, Theatre Royal
- 10th – 14th Mar 2026 – Birmingham, The Alexandra
- 17th – 21st Mar 2026 – Norwich, Theatre Royal
- 24th – 28th Mar 2026 – Derby, Derby Theatre
- 14th – 18th Apr 2026 – Leicester, The Curve
- 21st – 25th Apr 2026 – Cambridge, The Arts Theatre
- 29th Apr – 2nd May 2026 – Oxford, New Theatre
- 12th – 16th May 2026 – Bromley, Churchill Theatre
- 19th – 23rd May 2026 – Darlington, Hippodrome
- 27th – 30th May 2026 – Manchester, Opera House
- 2nd – 6th Jun 2026 – Dublin, Gaiety Theatre
How to get Midsomer Murders UK tour tickets
Tickets for several of the shows are available on ATG Tickets.
Buy Midsomer Murders tickets at ATG Tickets
Make sure you read our chat with Tom Fletcher on the Paddington Musical.
American folk music legend Joan Baez’s interpretive skills are undervalued. Many know her through her one-time partner, Bob Dylan, and, to a lesser extent, from her remarkable, vibrato-heavy soprano and decades of political activism. However, some of her best-known covers, especially her 1971 hit version of the Band‘s “The Night They Drove Old Dixie Down“, can feel woefully inappropriate, with or without botched lyrics.
Still, a new reissue of her 1965 album, Farewell, Angelina, shows Baez in generally stronger form singing work by Dylan, Donovan, Pete Seeger, and Woody Guthrie, bolstered by Kevin Gray’s new all-analog mastering, cut directly from the original tapes. Pressed on heavyweight (180 gram) vinyl in a faithfully replicated jacket, the LP sounds warmly inviting and enveloping, providing a welcome alternative to listening on CD or streaming.
Amid the booming folk revival of the 1950s and 1960s, 18-year-old Baez and her dulcet voice first came to public attention when she performed at the 1959 Newport Folk Festival. In the years that followed, she became known for championing young songwriters like Dylan and for marching alongside activists like Dr. Martin Luther King, Jr.
Farewell, Angelina provides a transition between Baez’s early acoustic work and her more electric and orchestrated recordings of the near future. The album was recorded the year Dylan went electric at the same festival, and it is the first Baez record to feature an electric guitar. Whether Baez’s new direction was more commercially or artistically motivated (if such a separation is possible), the album shows Baez changing with the times, however tentatively such work might suggest today.
The title track, the first of four Dylan songs, is gorgeously understated, opening Farewell, Angelina with a gently apocalyptic omen. Baez sounds more in her element, regardless of instrumentation, than on some tracks. Another acoustic track, the traditional “The Wild Mountain Thyme“, sounds less muted but also has Joan Baez sounding like she’s at her most comfortable.
On the other hand, the electric guitar might have been a novelty in American folk music at the time. Still, despite the loveliness of the instrument’s accompaniment on “Daddy, You Been On My Mind,” it sounds more like an accessory than a necessity today.
In addition, with hindsight, some potentially exciting tracks sound out of place: a chipper, strident rendition of Dylan’s “It’s All Over Now, Baby Blue” is the most awkward track. Other versions of Baez singing the song, like on Live at Newport, sound steadier and more naturally performed. In contrast, the version with a louder electric band on Baez’s underrated 2005 live album, Bowery Songs, is interpretively superior to either version.
The most haunting moment on Farewell, Angelina is “Sagt Mir Wo Die Blumen Sind“, a German translation of Pete Seeger’s “Where Have All the Flowers Gone“, recorded two decades after the end of World War II. Though it lacks the cultural cachet of the Dylan covers, “Sagt Mir Wo Die Blumen Sind” is the album’s greatest track, in its subdued mourning.
In fact, to my ears, the record’s ending is stronger and more startling than its more celebrated beginning, as mentioned in the three consecutive Dylan covers. “Sagt Mir Wo Die Blumen Sind” and a sparely electrified, but declarative closer, Dylan’s “A Hard Rain’s A-Gonna Fall“, rivet the listener and bring Farewell, Angelina full circle with the apocalyptic specter of nuclear war on the opening title track.
The reissue’s sensitive mastering brings out the acoustic bass and the high tremors of Baez’s voice well, and the record sounds excellent in this incarnation. The album, especially in this reissue, is strong enough to warrant repeated listenings. However, at times, Joan Baez sounds as if she’s in a transitional state—not only with the electric guitar behind her, but also with her interpretive skills. However, the reissue is nuanced enough to appeal to many fans of (mostly) acoustic music, not only American folk music of the time.
Fender has officially unveiled the American Professional Classic, a new line of guitars and basses, with the help of hardcore heroes Turnstile.
Featuring some of the most recognizable Fender silhouettes and body styles, the American Professional Classic emphasizes vintage aesthetics and modern playability. The new line features Stratocaster, Jaguar, Telecaster, Precision Bass, and Mustang Bass models, each with overwound vintage-style pickups and modern performance-enhancing aspects, such as a modern “C”-shaped neck.
“These are road-worthy, ready-for-the-stage guitars that you can grab right off the hook of a store and go right to a gig and play,” Allen Abbassi, Fender’s Director of Product Management tells Consequence. “The pickups are actually based on our American Vintage II pickups, a line of reissue guitars that are made exactly like [guitars from] the ’50s and ’60s. These pickups are borrowed from that series, but they’re slightly modified. They’re overwound, so they have a touch more warmth and output.”
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These axes offer an accessible entry point for players looking for a pro-grade, stage-ready instrument, with prices ranging from $1,500 through $1,600 — a few hundred less than the American Professional II Stratocaster, for example. As of their launch, they’re the least expensive option for players looking for American-made Fender instruments.
“We have hyper-modern guitars in the Ultra, and we have very classic guitars in the American Vintage,” Fender Musical Instruments’ President of Americas Justin Norvell adds. “The American Pro is kind of the contemporary icon, and this line leans a little more classic than those, but remains a great entry point to American-made Fender.”
Fender has also touted the line’s durability for “night after night” usage, strategically tapping hardcore act Turnstile as the face of the American Professional Classic series. Not only are they an active touring band, but Turnstile are particularly physically active onstage, which requires a trustworthy instrument designed for high-energy performances.
“When you’re in a different place constantly, sometimes the most familiar thing is the guitar that you bring every single night,” says Turnstile guitarist Pat McCrory. “We look for something that sounds the same every time, sounds exactly how you want it, but also has versatility because spaces change. Sometimes you play outside, sometimes it sounds different, sometimes you play inside or there’s [noisy] lighting. Having some durability but flexibility is very important.”
Specs on select models in the American Professional Classic line are as follows:
- The American Professional Classic Stratocaster ($1,499.99): Coastline ’57 single-coil Stratocaster pickups and “C”-shaped neck with 9.5″-radius maple fingerboard and medium jumbo frets (purchase here)
- The American Professional Classic Jaguar ($1,599.99): Coastline ’65 single-coil Jaguar pickups, alder body, and “C”-shaped neck with 9.5″-radius rosewood fingerboard and medium jumbo frets (purchase here)
- The American Professional Classic Telecaster ($1,499.99): Coastline ’63 single-coil Telecaster pickups, alder body, and “C”-shaped neck with 9.5″-radius maple fingerboard and medium jumbo frets (purchase here)
- The Professional Classic Precision Bass ($1,599.99): Coastline ’60 split-coil Precision Bass pickup, alder body, and “C”-shaped neck with rosewood fingerboard and Fender “lollipop” tuners (purchase here)
- The American Professional Classic Mustang Bass ($1,599.99): Coastline ’70 Mustang Bass split-coil pickup, alder body, and “C”-shaped neck with maple fingerboard and Fender “lollipop” tuners (purchase here)
Below you can check out an introductory video featuring Turnstile and product photos. For more on the American Professional Classic, visit Fender’s website.
Turnstile x Fender, photo by Connor Peterson





Cat Stevens claims that he was one of the inspirations behind Carly Simon’s song You’re So Vain.
Cat Stevens claims to be the inspiration behind Carly Simon’s song You’re So Vain
The Matthew and Son singer had a passionate affair with the Nobody Does It Better artist during the early 1970s and knew that Carly’s track about a self-absorbed lover – the identity of whom has long been speculated – was about him.
Writing in his new memoir Cat on the Road to Findout, the 77-year-old musician said: “I never understood the endless hide-and-seek of finding out who You’re So Vain was about. Naturally, I knew it was about me!”
Cat added: “The affair enriched both our repertoires.”
Carly, 82, previously confirmed that the second verse of the 1972 song is about the Hollywood actor Warren Beatty but has never revealed the inspiration behind the rest of the song.
She told People magazine in 2015: “I have confirmed the second verse is Warren.
“Warren thinks the whole song was about him!”
The Coming Around Again artist suggested that she was unlikely to reveal the identity of the other men mentioned in the song.
Carly said: “I don’t think so, at least until they know it’s about them.”
The singer admitted that she is astonished that interest in who You’re So Vain is about has persisted for so long.
She said: “Why do they want to know? It’s so crazy!”
Meanwhile, Cat recently described how music was a “calling” for him.
The Wild World artist – who adopted the name Yusuf Islam after converting to Islam in 1977 – told The Sun newspaper: “I felt I had something to offer. I felt that people should get it.
“It wasn’t just a career choice or business decision. It was more than that – it felt like a calling.
“I responded to it and it responded to me. My songs, everything, came so easily. I wrote The First Cut Is The Deepest when I was 17 (in 1965).
“My brother David also had a big hand in it because he was the business head of the family. He was instrumental in getting me contacts.”
For all the excitement of a new artist, the music industry can be pretty unforgiving. For every artist burning brightly after a long and successful career, there lie the dying embers of thousands. That’s arguably especially true of electronic artists. The rewards are there: high-profile festival sets, big-name collaborations, and major awards. However, one false step can just as easily consign them to regional student nights for years to come. For British electronic artist Barry Can’t Swim, the stakes could not be higher.
After the initial buzz of his early EPs, Barry Can’t Swim (aka Joshua Spence Mainnie) served notice of his talent on his debut, When Will We Land? It saw him shortlisted for the prestigious Mercury Prize and garnered critical acclaim across the music press. His ascent must have been dizzying. From appearing low on festival bills just four short years ago, he has suddenly been elevated to headliner at renowned British festivals such as Forwards and All Points East. A rare feat for someone with just one record and a handful of EPs under his belt. That was even before the world heard what he was cooking up on his new album Loner.
Loner is a snapshot of what happens when an artist suddenly gets shot into the stratosphere. It sees Mainnie take stock of where he finds himself and ask himself what kind of artist he wants to be. The answer is to distance himself from any sense of expectation and make something authentic. Something representative of him as a person and as an artist. With the general chaos of touring and gigging, it would be forgivable to release something, anything, to keep up the momentum. Thankfully, Loner is something different. It reaches the highest heights without compromising its artistic integrity.
“The Person You’d Like to Be” features his friend and poet Seamus. It’s a disconcerting and powerful opening with Seamus’ Scottish burr framed by blaring, car alarm synths. Initially, it feels wonderfully abstract, but over time, seemingly throwaway lines take on almost devastating significance. Lines such as the revealing “Can you sit down with me for a moment, please? / Can you hold my hand / I am frightened” reveal an emotional depth that few electronic artists manage to achieve.
The track encapsulates the record’s overarching theme of separating the artist from the person, with both coexisting and apart, yet often coming into conflict. “Different” is the first certified banger. Opening with quick-fire breakbeats, it soon launches into orbit with a whirling, climbing bass line like a rocket tearing away from the launch pad. However, the genius comes with the dynamic shift as it idles into more ambient territory before firing up again.
“Kimpton” perfectly encapsulates why his rise has been so rapid—the piano breaks, the perfectly chosen vocal samples, the warm, evocative synths. There is something beautifully familiar yet fresh about it. Featuring his friend, O’Flynn, it could just as easily come from Bonobo‘s incredible Fragments album. “All My Friends” plays like an update from Moby‘s ubiquitous Play. Coming from a similar place, he mines soulful, vocal samples and blends them with smooth electronics that make it sound both hopeful and mournful at the same time. It builds to an almost transcendent drop, designed to overcome misty-eyed festivalgoers everywhere.
Barry Can’t Swim follows it with probably the finest one-two combination you’ll hear on an electronic album this year. The pumping acid techno of “About to Begin” should be the dance soundtrack for Gen Z. It flies out of the traps with eagle-eyed precision as he channels a host of 1990s rave influences. “Still Riding” is the kind of anthem that a host of his peers would kill for. It’s a confident and bold statement as he marries a Kali Uchis vocal sample with dextrous and fluid synths before somehow finding the perfect moment to carry the listener home on a blissful wave. It would be difficult for any artist to maintain that kind of quality, which makes the subsequent slight dip all the more understandable.
“Cars Pass by Like Childhood Sweethearts” is probably the safest song. All the signature elements are in place—the glistening piano, the neo-soul, and female vocal samples—but it doesn’t quite connect in the same way. The same could be said of a lot of the rest of Loner. “Machine Noise For a Quiet Daydream” sees the return of Seamus, who again spins his ambiguous poetry over 1990s-influenced house.
However, it plays like an inferior retread of the opening track, struggling to match its emotional depth. The shuffling “Like It’s Part of the Dance” is much more effective. Percussive claps give way to soulful vocals before rolling synths take it to its euphoric conclusion. The build, the drop, and the undeniable sense of fun have already made it a live favorite.
“Childhood” feels a little formulaic in comparison. The surging horn swells are a welcome addition, but the whole thing follows a well-trodden path. It’s too smooth, and it’s begging to be taken in a more unexpected direction. It’s one of the tracks that needs someone to come in and rough up the edges and force open the cracks.
The same could be said of “Marriage”, which seems a little lost, as if it could end up anywhere but ultimately arrives at the most apparent point, despite the addition of big drums and swelling strings. Thankfully, “Wandering Mt. Moon” concludes the record on a sublime note, thanks to the gliding strings. Taking its inspiration from Bollywood soundtracks, it’s the kind of tune that could soundtrack bold, expansive camera shots of nature.
Loner feels like a classic touring album. There are moments of genius where all his influences meld together perfectly, but then there are moments that feel a little rushed; a sure sign that a record has been crafted on the road. Next, perhaps he should consider some of the remixes of songs from this album. Have faith in taking things in an unexpected direction or scuffing up the edges. For now, Loner will see him continue his rapid ascent and, in turn, cement his status as one of the most exciting new talents in dance music.
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