reviews

regimes, climate crisis scares, ET/UFO disclosure, and a lack of global connection to the Holy Spirit.”

“Love the Way” vibes as a youthful, live-inthe-moment ego-feeder that covers a range of synth fillers equivalent to the producer firing pistols in the air in excitement. It absolutely works and is quite therapeutic.

The piano-robot-coming-in-on-an-asteroid arrangement of the equally free-flowing “Let the Universe Take Control” utilizes some dark, rich chordal shadings to create melodic emotion, building as optimistic of an outlook for that asteroid-riding robot on an as possible, possibly channeled from a Flaming Lips Yoshimi Battles the Pink Robots practice session.

All Colors Make Black

Initially a Pennsylvanian acoustic duo, brothers Alex Paul Zug and Jacob Andrew Zug relocated in 2016 to join Middle Tennessee State University’s Recording Industry program, find bassist Josh Dixon, and go through a Sloan-meets-The Black Crowes, 311-learnsThe-Jayhawks-harmony phase in Tennessee as alternative rock trio Züg.

As the 2020s hit, Alex and Jacob re-invented Züg as an ethereal ambient, synth-glitch electronica group following up 2016’s Crash with a more THX theater sound effectesque sophomore EP, All Colors Make Black, released out of the now-legit Zug Productions in 2022.

All Colors Make Black seems a synergistic audioscape pitching Zug Productions’ evolved capabilities (its post-altrock phase), but, aside from the business angle, the All Colors Make Black EP is just as much a quick, single-serving therapy session offering waves of well-produced and well-mixed synth, glitch and heart-driven, ephemeral universe chatter accompanied by positive (or at least neutralizing) lyrical affirmation audibly equivalent to a big, warm hug.

At just five tracks and 13 minutes, it’s suggested All Colors Make Black is listened to in order, in entirety, but the middle three songs are where Züg explores its philosophy of spreading “peace and love worldwide [in the face of]

“Rollin’” would fit perfectly for the trailer of a heart-tugging, ’90s rom-com set in Africa, as soft maracas and long, breathy synthesized notes swish in tribute to a “smoke ride.”

Now, bookending these middle three are a pair of seemingly immaculate intro/outro numbers that inhale and exhale universal peace, as well as the therapy session’s facilitation and easing conclusion.

“Rise Up,” the theme of the EP and its first track (perhaps taking a soothing note from “Elevator Beat” by Nancy Wilson), officially introduces Züg’s newfound, ambient electronic chatter as a soothing phone voice subdues any overactive thoughts: A long time ago/at the inception of creation/ there was a vision of a place so beautiful, so perfectly balanced, it unified all nations. . . . The human heart is the key. The gift is inside. The Kingdom is being built. The power of God is alive. If you want to be free and believe in his story, take control of your soul, and Rise Up

“F is Hope,” All Colors Make Black’s outro, channels the ponderous Icelandic post-rock of Sigur Ros in vibe, but somehow with easing, synth raid sirens, with vocals exhorting Shine. Through the dark.

Wait . . . is it a Christian album?!

Find All Colors Make Black, and other work from Züg, on Spotify. There’s also an instrumental version of the release. Visit zugproductions. com for inquiries into the Zug brothers’ production company, specializing in arrangements, beats, post production and mixing.

— Bryce harmon diRECTORS Martin McDonagh

STARRiNg colin Farrell, Brendan Gleeson, Kerry condon RATEd R

Like most of Martin McDonagh’s films, The Banshees of Inisherin is an odd bird. A mixture of political and personal, comedy and drama, understated and over-the-top performances, the film balances these different aspects to create an uncomfortable yet cozy tale of two old friends who suddenly, and almost inexplicably, aren’t anymore.

Set on the idyllic Irish island of Inisherin during the 1920s, amidst the backdrop of a civil war on the mainland, Padraic (Farrell) walks to his best friend Colm’s (Gleeson) house for their daily 2 p.m. constitutional to Jonjo’s pub. This day, however, Colm just sits in his house smoking, ignoring Padraic’s calls to him through the window. When the bartender Jonjo asks Padraic if they’re having a row, Padraic says he doesn’t think they are in a row. (“Row” means fight or argument across the pond, but even if you know that, the thickly accented Irishisms come fast and benefit greatly from turning on subtitles.)

Obviously irked by this sudden change of heart from the person he thought to be his best friend, Padraic can’t quite put a finger on it, so he pokes and prods Colm as to why he no longer wants to sit with him at the pub or talk to him in general. The reason is almost a non-answer: a devastating “I just don’t like you anymore.”

Colin Farrell—or more to the point, his glabella—is perfectly suited to the role. Padraic is described as “dull” and “nice” and his pinched-brow befuddlement at such an odd predicament, one probably more common than discussed, is relatable to anyone who has grown distant from a friend. The sudden separation of these two pals is a catalyst for other small island dramas, and leads to some dark and extreme behavior, but these never get bogged down in an overly melancholic tone.

That’s due in no small part to the lively yet bittersweet score by Carter Burwell and the gorgeous Irish countryside captured in all its widescreen magic-hour glory by D.P. Ben Davis. The script handles its dour subject matter with a light touch, often turning what would normally be internal thoughts into spoken dialogue for comedic effect. Not everyone will find The Banshees of Inisherin funny. It reunites Farrell with his The Killing of a Sacred Deer co-star Barry Keoghan, all mannerisms and affectations, but where I find that director’s work more weird and deadpan than funny (The Favourite being the exception), his style is the closest touchstone to The Banshees that I can think of. The difference, I think—and what makes this depiction of misery such a joy—is that this movie knows it’s a farce.

Kerry Condon’s performance as Siobhan, Padraic’s sister, is a standout. The Banshees of Inisherin has been nominated for Best Picture and is available to stream on HBOmax.

— jay spIGht