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Cardinal Copia’s Plague Sweeps Across the Nations

Art by Emily Avendano

Story by Daniel Anderson

By now, the majority of audiences are familiar with the modern heavy metal aesthetic. Relatively harsh vocals and technical playing styles have become clichés among many metal acts today.

However, such is not the case for a particular Swedish metal act, Ghost.

This band has opted to take a more retro approach to the metal genre, straying away from most of the gimmicks of modern metal. Rather, they cherry-pick various sounds and styles from other hard rock and metal subgenres like thrash metal, doom metal, and the new wave of British heavy metal, all without sounding like they are deriving from one specific act. There is more to their approach to metal than just referencing its various subgenres, however.

Ghost also derives much of their instrumentation from other genres entirely, such as prog rock, pop rock, psychedelic rock, and even Christian music (to emphasize their blasphemous image, of course). In doing so, this band has had more time to focus on key elements such as songwriting and melody.

Ironically, Ghost has stood out among the masses not by advancing the genre forward, but by revisiting what made the metal genre so captivating in the first place.

Ever since the release of their debut Opus Eponymous in late 2010, they have barely had shortages of praise; it seems their older style has helped them reap the benefits.

With subsequent releases like Infestissumam and especially Meliora, Ghost acquired massive critical acclaim, commercial success, and a Grammy award under their Saint-Peter’s-Cross-adorned belt. It seemed as if nothing stood in Ghost’s way.

That is, until their veil of anonymity suddenly vanished when the members sued the frontman in 2016 for payment issues. See, until that point, the band had been performing under the guise of Nameless Ghouls, with their lead singer, now revealed to be a man named Tobias Forge, using the persona of a Satanic pope by the name of Papa Emeritus (three versions, to be precise).

Now that new Ghouls have come to take place of the previous ones, fans were left to question how drastically this would affect the band’s dynamic and playing style.

Fast-forward a few months, and Ghost had dropped two teaser tracks, “Rats” and “Dance Macabre,” to build up the release of their next album, Prequelle. A new caricature from Forge had been introduced, Cardinal Copia, thus giving the band a new identity while still maintaining their traditional showmanship.

Suffice to say, these singles had hardcore fans divisive about the band’s newer and much cleaner sound that had been brought to the table. The tracks appeared to be far more hair or glam-metal-esque than what would’ve been preferred. With all this worry surrounding this album, it seemed more likely than not that Ghost wouldn’t appeal to the listeners adequately.

Thankfully, this was not the case.

Instead, Ghost still delivers their fiendish sound, but rather in a different light. Most importantly, however, is that the dynamic that the new Ghouls have adapted still fits well with the ominous atmosphere that Ghost’s music typically presents. To put it simply, the new band members were great replacements.

The teaser track, “Rats,” opens up their latest collection of unholy psalms, but differently than what would’ve been expected. There is an instrumental intro titled Ashes, which features a little girl’s echo (that’s Forge’s daughter, by the way) singing “Ring around the Rosie” before it explodes into a grand, monolithic instrumentation, typical to Ghost fashion.

This accents the drum intro of “Rats” perfectly. It is all the more theatrical, just the way an album opener should be for this band (after all, they have used this same instrumental-intro strategy before). However, upon inspecting the lyrics, the listener would find that the band isn’t praising their dark overlord as usual, rather speaking of unwonted destruction tearing through without explanation- like rats in a plague: “Into your sanctum/ You let them in/ Now all your loved ones/ And all your kin/ Will suffer punishments beneath the wrath of God/ Never to forgive/ Never to forgive.”

This brings up one of the most essential things to note about this album: the recurring themes of the Bubonic Plague, which differs quite a bit from the albums preceding it. Granted, their presence is still as sacrilegious as ever.

The 3rd track, “Faith,” takes a much more grizzly approach to their flavor of devilishness. It feels much like the tracks “Majesty” and “From the Pinnacle to the Pit” from Meliora in its overall execution; it is the closest to a traditional Ghost track as it gets on the album.

However, the lyrical content has now incorporated a new element into Ghost’s music – a setting if you will. The Black Death in 1347-1351 provides a harsh, depraved backdrop, certainly fitting for a band such as Ghost. Every track on this album (minus the two instrumentals, “Miasma” and “Helvetesfönster) take place in this pestilence-strewn environment.

The presence of a medieval setting was perhaps the smartest decision made for this album, as there are a plethora of ways that their infernal image is incorporated alongside it. The populace of Europe at the time, which mostly followed the Christian clergy, blamed their despair on supernatural forces; forgiveness from God was commonly thought to be a cure. Knowing about this past belief, Ghost takes full advantage of their lyrical content.

Referring back to the track “Faith,” the lyrics could be interpreted as having God looking down upon his pleading, suffering people as they die while Satan is being accused for it: “I am all eyes/ I am all ears/ I am the wall/ And I’m watching you fall/ Because faith is mine!”

Then there’s the track following it, “See the Light,” which is a bit of a role reversal. It appears that this track comes from Satan’s perspective, and yet it is just as impulsive. It is also, lyrically, the most personal track as the allusions to the hardship that the band, Tobias in particular, are too hard too ignore: “Many a rat I have befriended/ And so many a thorn stood between/ But of all the demons I’ve known/ None could compare to you.”

As the track progresses, the instrumentals it becomes increasingly more passionate and grandiose, all while Copia speaks of growing more powerful off the hatred of others.

Whatever the listener interprets as, whether it be politics, religion, the band’s recent controversies, or even as a straightforward story within this setting, the overarching medieval themes fit perfectly with each and every scenario.

However, the instrumental work is what had fans mostly divided at first. Again, the teaser tracks presented a much more whimsical approach as opposed to their previous works (although Ghost was fairly accessible to begin with).

Thankfully the new Nameless Ghouls are given time to shine in the Morning Star’s light as their work has now been fully realized. This is due in-part to the instrumental 5th track, “Miasma.”

With analog synths and beautifully harmonized guitars glossing over the entirety of the track, the Ghouls more than prove their worth collectively. There’s even a saxophone solo near the end, and it miraculously works well. Not to mention, the increasingly grand and glistening production that Ghost provides with each subsequent release help the band sound larger than life.

“Helvetesfönster,” the 9th track, also demonstrates the Ghouls’ instrumental work quite well, but not quite as colorfully or exciting as it was on “Miasma.”

However, there are moments where not all the pieces in the puzzle work in perfect unison. The tracks “Dance Macabre” and “Witch Image” work more nicely in a lyrical sense, but the backing instrumentals don’t compliment the lyrical themes and images as nicely as an older Ghost song would.

Not that the instrumentals are bad, just that they might come across as underwhelming for some listeners, especially those looking for a grittier approach. Though one could just chock it up to purposefully deceiving the listener into thinking that they are innocent arena rock songs. Again, with the Black Death lingering over this album, these tracks help a lot with the flow of this album.

But then there’s track #8, “Pro Memoria,” where the exact opposite occurs. While this track starts off quite promising with a string intro, the lyrics and vocals quickly devolve, especially on the chorus: “Don’t you forget about dying/ Don’t you forget about your friend death/ Don’t you forget that you will die.” The instrumentals that the Ghouls provide work just fine, but the lyrics and vocals come off a bit too campy, even for Ghost’s standards.

But one sore spot on this album is not enough to derail it, as the album still remains consistent with its better tracks.

Sending off the album is the 10th track, “Life Eternal,” which sees from a bit of a different perspective of the Plague than on the previous tracks. It is a ballad that asks the listener if life is really meant to be lived forever; that life, short as it may be, can still be enjoyed and can still receive hope during the most desperate of times- such as the plague: “I know the light grows darker down below/ But in your eyes it’s gone before you know/ This is the moment of just letting go.”

Conceptually, there could not have been a better way to close this album.

All in all, Prequelle is an album that more than adequately follows up their work in the past. It brilliantly placed Medieval setting perfectly contrasts the triumphant instrumentals, insatiably catchy hooks, and magnificent production. In turn, it brings about a menacing, spooky, but also enjoyable atmosphere, perfect for this time of the year.

While, sure, it isn’t as hellish or occult as projects like Opus Eponymous or Meliora, the album is a different beast entirely; it isn’t trying to be like their previous work. Just as Tobias Forge himself expressed, if Ghost kept re-hashing Papa Emeritus over and over again, their image and music would become stale too quickly.

With Cardinal Copia now being handed the reins, Prequelle is the current embodiment of the band’s evolution. The flood gates have now been opened for Ghost to explore even more opportunities and ideas.

Despite the trouble that Ghost underwent preceding its release, this album still proves this band’s tenacity and willpower. Even after the plagues, Europe blossomed afterwards.

 

Verdict

Production A
Instrumentals A-
Vocals B
Lyrics/Songwriting A
Accessibility A-
Final Score A-

Favorite Track(s): “See the Light”, “Miasma”

Least Favorite Track: “Pro Memoria”

Link to album: https://www.youtube.com/playlist?list=OLAK5uy_mkP0K2t2xxoe8brQXv6SN_m1hZiv6UKi0

How do people upcycle

Art by Jennifer Avendano

Story by Gracie Vanover

Across the world, different people use old clothes in a variety of ways. Dresses can become a shirt or jeans can become a pair of shorts. There are thousands of options for anything in the closet.

Upcycling is defined by dictionary.com as reusing a product and making its value higher or equal to its original value. With the rise of upcycling and other environmentally friendly recycling methods, clothes become repurposed and take on a beautiful new form.

The beauty of upcycling is that your options really are endless,” said Jessica Murray who is a writer for savethestudent.org. Murray says it really lets someone’s creative side let loose.

In order to upcycle, some basic tools needed are scissors, a needle and thread (or sewing machine), and the fabric intended to be used. Once the needed materials are acquired ,then plan out what design or pattern is desired for the project.

“Along the technical execution [the sewing], there is always another side of the coin,” said Mariana Kirova from ecofashionsewing.com, “And this is the design.

When the plans have been made and the materials are collected, the fun can begin. For example, when taking a dress to be made into a t-shirt, start to measure the person who the shirt is being made for. Make sure that all the measurements are marked for parts such as circumference of the torso area or whatever areas chosen.

Before doing anything with clothes, though, I use scissors or my seam ripper to remove notions like buttons and zippers, then I save those items in small jars for reuse later,” said Danielle Pientka who runs diydanielle.com.

Next, everything is now measured so cutting the fabrics and patterns can begin. Make sure the cutting is precise and accurate to the outline created for the design. Using or borrowing a steady hand from a friend will be the best option for clipping out the planned clothing piece.

“Once I remove the notions, I cut the fabric into strips or into one big cut of fabric to be used on a project,” said Pientka. “That cut of fabric can be folded and placed with all of my other fabrics.”

Once the pattern has been cut out, then the process proceeds to sewing the

fabric together. How it is sewed can vary due to personal preference or is required for said design. Make sure when sewing that the holes needed for body parts, such as arms, are closed up.

The last thing you want is to run into challenges that exceed your sewing confidence, thus leaving you with an unfinished project,” said Murray. “If you stick to previously applied and checked sewing techniques, you’ll feel much more satisfied from your final result.”

After the piece has been sewn together, the true fun can begin. With the heavy

duty tasks completed, one can begin to decorate. Little bits like glitter, pearls, or whatever one can imagine can be added to make the piece truly one-of-a-kind.

Although the process is very tedious and nerve-wracking at times, there are a

multitude of benefits to upcycling. It is not only recycling clothes and saving our environment, but it also expresses the creativity that is individuality.

‘To All The Boys I Loved Before’ sends all the feels

Art by Mikayluh Bowers

Story By Eleni Pappas

Go back to what it was like having a first crush. Most people get crushes at one time or another, and some get them all the time. Sometimes they can get ultra intense, even a tad obsessive, occupying thoughts, making palms sweat, and speeding up heart rate. The crush becomes romanticized beyond reason and the crusher is not able to help how this person makes them feel, even if they are totally off limits or out of one’s league. Say, like a sister’s boyfriend or the most popular guy in school.

Many have wondered what would happen if all these gushy feelings were accidentally revealed to all of one’s crushes. Gulp.

To All The Boys I’ve Loved Before is addressed to any girl who has struggled with having a crazy crush. It came out on Netflix on Aug. 17 and is based on the the same title by Jenny Han. The film is directed by Susan Johnson (Carrie Pilby) and stars The Fosters’ Noah Centineo and features famous Viner King Bach.

The Netflix Original begins with Lara Jean Covey (Lana Condor) showing us her life and explaining how, when she gets an intense crush, she writes down her feelings in a letter and addresses them. Then she never sends them. One of her letters is to her sister Margot’s boyfriend, Josh (Israel Broussard), but she would never tell him because she cares too much about Margot. The situation, however, gets worse when somehow the letters are sent to each of her five crushes, including Josh. So then, of course, like any rational girl would do, she begins a fake relationship with Peter Kavinsky (Centineo), one of her crushes and the most popular guy in school. She agrees to this to throw Josh off her trail and make Kavinsky’s ex jealous. The fake couple create a contract of requirements in their fake relationship, but what ends up happening was never included in the list.

To All The Boys I’ve Loved Before is a coming of age film about the highs and lows of love in high school. A favorite theme in the film is the importance of honesty and being able to put oneself first. When Lara Jean falls for Kavinsky, and believes he is still in love with his ex, she speaks out about wishing to be someone’s first choice, and not just second best. Throughout the film she learns to have confidence, to be more adventurous, and to take the first step towards what she wants. Instead of letting herself get pushed around and of lying to everyone like Josh and her family, she is truthful about her feelings.

In a word, To All The Boys I’ve Loved Before is a great movie promoting self worth and independence. It is a love story like no other with its fair share of comedic and deep moments. The fact that no other production company until Netflix was willing to keep to Han’s wishes to have an Asian American protagonist, only creates more appreciation for this Original. If the novel is as enjoyable as the film, copies will surely be flying off the shelves.  

Watch it now with a Netflix subscription.

Theater shows Willy Wonka on Oct. 19&20

By Sophia Perigo