Oh and before we end this thing, it's everyone's homework tonight to go watch NightBreed, it's not an excellent movie, but I sure would love for people to know what the hell I'm talking about. Some incredible artwork here and at this point that's the highlight of this series. Dexter Soy continues art on this book and let me just tell you, I love me some Dexter Soy. I really don't know what's going on in this book but I find that this issue is easier to get into than the last. and yet, I find myself liking this issue more than last. We've seemed to have forgotten all the story that we were given last issue and started up a new one. I just have no real idea how much time has passed and really even what the hell is going on. That's it for this issue of Mortal Kombat X and while I appreciated the more direct storytelling about boys training at a temple, the lack of timeline really did a number on me. Now I'm no shlub, I know a bit about Mortal Kombat but I spent that first issue being completely lost with what was going on. At the end of the issue we jumped to the Red Dragon's temple where we saw Sub-Zero trying to steal a dagger for Raiden but Kano was also interested in the dagger and somehow got the upper hand on our favorite ice shooting ninja and Kano cut Sub-Zero down his eye as Sub-Zero screamed out the blade was cursed. I'm guessing there's no child protective services in Mortal Kombat's world, so I guess we'll go with it. "There's a rhythmic struggle happening in that song that, to me, feels representative of reaching something you can't always grasp," he explains.Last issue of Mortal Kombat X, we saw that our setting is years ago and at that point Kenshi and his son were being pursued by the Red Dragon clan, but luckily Kenshi led his pursuers through Shirai Ryu territory, which really means they became targets for Scorpion and man did he fatality the hell out of the Red Dragons.fatality can be used as a verb right? The whole point of last issue was to find out that Kenshi is trying to take down the Red Dragon leader: Daegon and to accomplish his goal he leaves his son behind in Scorpion's care. Ben Lumsdaine, who co-produced, recorded and mixed the album – in addition to playing a number of the instruments - says they intentionally made "I Want You" challenging to tap along to as a way of highlighting the song's thematic elements. Sometimes it feels a bit ahead, sometimes a bit behind. On "I Want You," a self-described prayer Jones wrote about music following the turbulent break in his grad school years the beat eschews expectations. On "Someday We'll All Be Free," a slow and steady groove breaks into an explosive verse by rapper Skypp, which pays homage to victims of police killings like George Floyd, Breonna Taylor and Tamir Rice. It transforms from quiet, piano-driven melodies to full bursts of synths and electric instruments, creating a blend of traditional and modern sounds akin to Jones' influences. Wait Til I Get Over paints a deeply nuanced portrait of Jones' life and the Southern customs that raised him. "I felt the need to really be open about my bisexuality because I know how stigmatized it can be for a queer, young person in the rural South." There's so many rules and boundaries we set up for ourselves that really limits and tarnishes us to be empathetic with one another and to love one another," says Jones. "I began to realize I was moving away from these fragile forms of masculinity. Jones says the war on drugs and a nearby state highway, cutting through, turned the town into a much more desolate place. But Hillaryville changed from how she remembered it. Jones grew up attending church, singing in the choir and living in his dad's trailer, not far from his grandmother's house. In an early interlude, over melancholy piano, strings and sounds of a creek, Jones narrates Hillaryville's history and how his grandmother described what it was like when she first moved there: "the place you'd most want to live." "Rather, it would smell like zesty magnolias on a hot July day in Louisiana," he says.Īnd so began Jones' journey to memorialize his hometown of Hillaryville, Louisiana, a small community on the banks of the Mississippi River, in Wait Til I Get Over. When he approached his label, Dead Oceans, about releasing a solo album, he didn't explain what it might sound like. But after several years, three albums and international tours, frontman Durand Jones felt the need to step out on his own. "I really want to know the rural South has something to say."ĭurand Jones & the Indications have been making vintage soul cool again since the mid-2010s. "The rural South is deeply beautiful and complex and contradictory," says Jones.
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