Review: Taylor Swift – folklore

Life’s too short to pretend Taylor Swift is (still!) a guilty pleasure for some people. Ever since I met her (metaphorically speaking, of course), probably 12 years ago, I used to think she’s just a harmless pop princess, the one that won’t go awry with bad habits, drugs and alcohol.

Little did I know, she would embark on a journey in the spotlight to try and defend herself in very gruelling situations, some of which no one could ever think of before the internet. Heavily scrutinized because of her dating life and her (supposed) inspiration from her relationships, I think she was always assumed to be the whiney, mean girl, always playing the victim and yelling “wolf” when things didn’t go her way.

I also realised she’s a crafty wordsmith, with interesting ideas in terms of artistic expression, so she moved from ‘unphased pleasure’ to ‘fun pleasure’, ‘quirky moments’, and, in later years, ‘pop icon’ status.

On 24th July 2020, Miss Taylor Alison Swift has released her 8th album, and oh boy… where do I start?!

Nothing like her previous albums, but effectively smelling, tasting and feeling exactly like Swift’s poetry, which in itself is a phenomenon in her field, folklore manages to gather around her lyrics the faint feeling of love you’re feeling in the pouring rain, when you’re walking barefoot in the forest, when you’re dreaming under the stars, and when you’re remembering things from centuries ago, without the added weight of anxiety and shame. Shameful to say, but I wouldn’t know what to do if I had Swift’s ability to write poetry in such a natural way.

Because we’re talking about Taylor Swift, the track list is an Easter Egg on its own. Starting with the 1, the album sets the tone for this new Swiftian era. the 1 is that story you wish you’d share with an ex love that you always thought it would be the one who got away. Starting from a more mature point, past her usual pettiness, Swift masterful word crafting gets her towards imagines of the ‘roaring 20s’ and penny tossing, reminiscing about someone who could’ve been fun for her. Given her current situation, I’d say this is just a revisit with nostalgia glasses, pondering what could’ve been if only one thing would be different. The song itself is a different beast from Taylor Swift’s catalogue, having some electronic accents, on top of a trickling piano and with minimal percussion. The whole song feels like summer afternoon in a small town, somewhere in the mountains, and I am so happy in a very calm way about it.

But we were something, don’t you think so?
Roaring twenties, tossing pennies in the pool
And if my wishes came true
It would’ve been you
In my defense, I have none
For never leaving well enough alone
But it would’ve been fun
If you would’ve been the one

Next song, cardigan, sees Swift putting on her folk/soft rock jacket on. This piano ballad is again filled with literary references, because Taylor Swift likes to poke fun at herself, and her army of dedicated fans. The song talks about young, innocent love, plagued by battle scars, lack of confidence and bitterness. cardigan is the lead single, and it does a good job in setting the expectations high for this new work of art. It’s also worth noting that this is part of the ‘young love trio’, along with august and betty.

And when I felt like I was an old cardigan under someone’s bed
You put me on and said I was your favourite
A friend to all is a friend to none
Chase two girls, lose the one
When you are young, they assume you know nothing

the last great american dynasty lets Swift borrow from urban legends on a pop track. Here we see Swift telling the story Rebekah Harkness, the woman previously owned Taylor Swift’s home in Rhode Island. Because this album is supposed to be a collection of stories, more or less based on reality, we witness Swift’s talent in full glory – building stories from nothing, and romanticizing them and making them work to her favour. Although not a favourite song of mine, the song has a certain appeal, especially because of the brazenness of the lyrics.

There goes the most shameless woman this town has ever seen
She had a marvellous time ruining everything

Bon Iver is a guest on the fourth track, exile, and I think there are very few people who can actually deny the greatness of this music dialogue. Adding Justin Vernon’s deep baritone next to Swift’s breathy vocals proves to be a very successful mix, and drawing comparisons to The Last Time, from Taylor Swift’s Red album. The song is imagined as a dialogue between two exes, but no one seems to be listening. Over the piano and the dramatic strings, the vocals manage to create to such a build-up, taking the song to a different plane.

All this time
I never learned to read your mind (Never learned to read my mind)
I couldn’t turn things around (You never turned things around)
‘Cause you never gave a warning sign (I gave so many signs)
So many signs
So many signs (You didn’t even see the signs)

As fan favourites go, the 5th track of a Taylor Swift album is usually the best song off the album. My personal favourite, my tears ricochet, is a hauntingly beautiful song mourning a past relationship. The POV of the story is that of a deceased lover, reflecting on the toxicity and tension. The funeral imagery of the lyrics, on top of the instrumentals, give the song the gravitas to carry the message home. And if it’s to be believed, this is a message to be delivered to Swift’s former record label. And even if it’s not, I can guess we can all rely on the lyrics in various situations.

We gather stones
Never knowing what they’ll mean
Some to throw
Some to make a diamond ring
You know I didn’t want to
Have to haunt you
But what a ghostly scene
You wear the same jewels
That I gave you
As you bury me

I didn’t have it in myself to go with grace
And so the battleships will sink beneath the waves
You had to kill me, but it killed you just the same
Cursing my name
Wishing I stayed
You turned into your worst fears
And you’re tossing out blame
Drunk on this pain
Crossing out the good years
And you’re cursing my name
Wishing I stayed
Look at how my tears ricochet

mirrorball talks about being a reflection of others, rather than being yourself, and damn, isn’t that sometimes the truth. This confession is scary and dangerous, as Swift’s music was oftentimes scrutinized by the media due to the personal nature of her lyrics, when all she wanted was to be relatable and to be able to give her fans honesty and a deep connection.

I want you to know
I’m a mirrorball
I’ll show you every version of yourself tonight
I’ll get you out on the floor
Shimmering beautiful
And when I break it’s in a million pieces

Reminiscing about a childhood friend, seven is the – you guessed it, 7th track. Packed with queer hints, the story unfolds about two friends who enjoyed their time together, but with one of them living in a possible abusive home, the dark tones of the song cannot be missed. Still revelling in the innocence of kids at 7 years old, when you’d dream you can go anywhere, seven captures that freedom of being who you are when you’re still young and not yet moulded into a useful member of the society.

And I’ve been meaning to tell you
I think your house is haunted
Your dad is always mad and that must be why
And I think you should come live with
Me and we can be pirates
Then you won’t have to cry
Or hide in the closet
And just like a folk song
Our love will be passed on

The eighth song had to have Swift poking fun again, because the track is called august. Tasting like summer, this pop rock ballad evokes young love again, with a hint of sadness. Singing about love you can never attain, and yet being so intertwined with feelings of belonging to someone who doesn’t belong to you. It’s Swift poetry, and Swift guitar, and Swift anguish, and it should be trademarked. Also, it’s part of the ‘young love trio’, with cardigan and betty.

‘Cause you were never mine
Never mine
Do you remember?
Remember when I pulled up
And said „Get in the car”
And then cancelled my plans
Just in case you’d call
Back when I was living for the hope of it all
For the hope of it all
„Meet me behind the mall”

this is me trying reveals even darker moments, talking about feeling alone when it becomes too difficult to cope with the insane standards you put for yourself, struggling with mental illness, alcoholism. Probably the most insane lyrics belong to this song – I was so ahead of the curve, the curve became a sphere.

They told me all of my cages were mental
So I got wasted like all my potential
And my words shoot to kill when I’m mad
I have a lot of regrets about that
I was so ahead of the curve, the curve became a sphere
Fell behind all my classmates and I ended up here
Pourin’ out my heart to a stranger
But I didn’t pour the whiskey

illicit affairs is another favourite of mine, its subject so simple, yet such a compelling study material. Finally we see Swift becoming more mature, more understanding to the prospect of a trio, not pointing blame on the third person anymore, but rather trying to be understanding and empathetic.

And that’s the thing about illicit affairs
And clandestine meetings
And stolen stares
They show their truth one single time
But they lie and they lie and they lie
…a million little times

In a very innocent switch to the more romantic side of things, invisible string is a verbal painting of Swift’s current relationship, and includes references to past life, songs and places. Built on an acoustic guitar, the song is a very childlike, candid glimpse of Swift’s current universe.

Mystical time
Cutting me open, then healing me fine
Were there clues I didn’t see?
And isn’t it just so pretty to think
All along there was some
Invisible string
Tying you to me?

Sarcastic Taylor is at it again, with mad woman. Bringing back the torches and lighting them and going against the ones who come after her, Swift brings fire over the piano keys in the gentlest way possible. Aimed at her old record label, this song is her fight song against the people she feels wronged by.

Now I breathe flames each time I talk
My cannons all firing at your yacht
They say „move on”
But you know I won’t
And women like hunting witches, too
Doing your dirtiest work for you
It’s obvious that wanting me dead has really brought you two together

And because Taylor Swift isn’t here to sing only about old boyfriends, current boyfriends and her old label, epiphany exists. Paralleling World War II atrocities with the COVID-19 pandemic, her lyrics speak about the trauma of trying to fight on the front, be it invisible or not. Trying to explain how difficult it is to continue serving after fighting death day after day, epiphany sounds more like a hymn than anything.

Crawling up the beaches now

Sir, I think he’s bleedin’ out

And some things you just can’t speak about

Coming back to young love, betty is folksy track based on a harmonica, with a pretty upbeat rhythm, but continuing the cardigan-august story. Probably the least creative of the three, or maybe because of that, betty sounds like a song that Bruce Springsteen himself could sing, and I’m not sure that’s too bad.

You heard the rumours from Inez
You can’t believe a word she says
Most times, but this time it was true
The worst thing that I ever did
Was what I did to you

An ode to her current love, peace sees Swift confessing her vulnerability in front of her loved one, and her fear that sometimes her love is not enough. Despite her being such a high-profile celebrity, Swift manages to keep her love under wraps, and as normal as possible, but also worries about not being able to give her boyfriend the normality they both crave.

But I’m a fire and I’ll keep your brittle heart warm
If your cascade ocean wave blues come
All these people think love’s for show
But I would die for you in secret
The devil’s in the details
But you got a friend in me
Would it be enough
If I could never give you peace?

Easily forgotten, hoax tells the story of a toxic relationship, where the resolution is to keep whatever unhappiness you have rather than start anew. Not necessarily my preferred method, but hey. When I’ll write better music, I’ll let you know.

My only one
My kingdom come undone
My broken drum
You have beaten my heart

Don’t want no other shade of blue
But you
No other sadness in the world would do

Review: Marilyn Manson – The Pale Emperor

It’s been years since Marilyn Manson released something, so you can understand my excitement when I heard Killing Strangers during John Wick. A promise was made – that a new album will come soon enough, and I was eager to listen to it!

Killing Strangers is the opening track – it’s slick, and screams „Manson” with every note. It’s sickening, it’s angry, it’s disappointed – it’s everything you and me are, so why the fuck not!? (10/10)

Deep Six was promoted as a lead single, with a very simple, yet disturbing video. I must admit I adore the bass line at the beginning of the song, the drumming and how it all blends in perfectly with Manson’s screaming. It’s pure joy for my ears, even though at first the song seemed a bit predictable. (10/10)

Third Day of a Seven Day Binge was released as a first promo single, and it was a very smart move. The bass mixes the guitar in a rather savage way, and in theory nothing would seem to make sense, but it does – it does make sense in such a weird way, I can’t stop listening to it! (10/10)

The Mephistopheles of Los Angeles – that’s quite a mouthful! I’m still undecided – the guitars are amazing, the rhythm is not quite there, the lyrics don’t seem to make sense, but the whole package screams „suitability and fear and hope”. What?! (7/10)

Warship My Wreck kinda sounds like a modern Coma White, with a little more comformity and a little less genius. It’s not bad, but it’s not wow either. (6.5/10)

Slave Only Dreams to be King is the kind of title that makes me proud of being a Marilyn Manson fan. Even though the platitude is noticeable and kind of expected from him, at this point in his life, the song is not bad. It reminds me a bit of (s)AINT, minus the angst. (7/10)

The Devil Beneath My Feet seems like a forgettable piece, since I had to look up to see the name. The album seems a bit repetitive at this point, and all the songs get mixed up in my brain. This particular track also has the quality of reminding me of The Red Carpet Grave combined with Children of Cain, so it’s understandable why I’m confused. (6/10)

Birds of Hell Awaiting starts off great, with a bit of Aggaloch-like vocals, and it seems to be the kind of vehicle that propelled Manson to stardom. Too bad he’s like 20 years late… (7/10)

Cupid Carries a Gun sounds like Manson had to fill in a quota, and this straw came short, and Mercury was in retrograde, and a bunch of other bad stuff happened, and so… This song was all that they could come up with. Except that it sounds like Manson circa 20 years ago, so yay?! (7/10)

Odds of Even. I can’t even. Is this The Speed of Pain, remastered?! (5/10)

Overall, The Pale Emperor is at least bearable. Marilyn Manson goes out of his way to please old fans that don’t want any spark of creativity for their idol, and he manages to squeeze out a beautiful combo of Born Villain and The Unholy Trinity (Antichrist Superstar, Mechanical Animals and Holy Wood), recycling old concepts that once appealed to the masses, and are now obsolete.

To be completely honest, after The Golden Age of Grotesque, Manson looked like he was on his way to reinvention, and for about 10 years that reinvention seemed great. Too bad peer pressure, or whatever that is, chased away that new spirit – I hope all those oldies reminiscing their 1996 Manson are happy. I am only meh.

Review – Cum se duce totul dracu’

Cum-se-duce-totul-dracuCum se duce totul dracu’ este, in teorie, cel putin, o comedie. Incepe ca o comedie, in care razi si razi si razi, si starea de facto a natiunii pare sa fie un ranjet larg, intins de la ureche la ureche, si se sfarseste, cel putin pentru mine, in lacrimi sincere. Cel mai neasteptat lucru la acest spectacol a fost tranzitia exceptionala, emotionanta, naturala, de la amuzament la realism dureros si dur.

Povestea din Cum se duce totul dracu’ e una simpla rau de tot, fix ca-n viata (cum altfel?). Un el, o ea, un razboi etern al principiilor si nervilor, al dreptatii puerile si al logicii si ratiunii. Daca vreodata credeti ca aveti sorti de izbanda in dragoste, think again. Bazat pe un text contemporan scris de Mihai Ignat, spectacolul face uz de creativitatea celor doi actori, Loredana Cosovanu si Florin Fratila, care au creat Cum se duce totul dracu’ integral si l-au pus in scena asa cum am avut ocazia sa-l simt pe 10 decembrie.

Cum se duce totul dracu’ are noroc de o distributie exceptionala – doi oameni care par sa se inteleaga din priviri, cu o chimie incredibila intre ei, dar si intre ei si public, doi oameni care au muncit extrem de mult pentru a prezenta un rezultat incredibil de bun unui public receptiv si empatic. Sau poate asa s-a vazut spectacolul din primul rand, de acolo de unde ai acces la trairile actorilor, dar si la trairile oamenilor care au facut din Cum se duce totul dracu’ un spectacol sold out, asa cum ar fi fost normal.

Daca Loredana Cosoveanu a stiut sa imbine gratia, frenezia si irationalitatea feminina, Florin Fratila a reusit sa mixeze simplitatea, confuzia, bunatatea si exasperarea masculina. Cei doi actori au adus pe scena o relatie cat se poate de reala, cat se poate de plina de defecte, cu sperante, vise si frustrari, cu fericire si ura, cu momente stupide si absurde. Realitatea acestei relatii inchipuite m-a miscat si m-a impresionat, si cred ca si daca n-ati suferit vreodata din iubire, tot veti rezona alaturi de actorii de pe scena.

Cum se duce totul dracu’ e un spectacol pe care il recomand din suflet, alaturi de o buna doza de rationament. Puteti sa va uitati linistiti zambetele acasa, veti avea destule motive sa zambiti In Culise.

Review – Ghengbeng

ghengbengDupa experienta unica pe care am avut-o cu Scrisori catre Rita – The Show, urmatoarea intalnire pe care am avut-o cu cei de la teatrul In Culise a fost la Ghengbeng. In teorie, o comedie efervescenta, marketata drept 16+, in realitate, o comedie spumoasa, care m-a tinut in priza toata seara.

Incerc, pe cat posibil, sa evit comparatiile intre cele doua piese, mai ales ca nu au actori comuni, si Ghengbeng e o productie comuna a celor cinci actori de pe afis (Alexandru Minculescu, Maria Popovici, Paul Alexandru, Cristiana Ionita, Ionut Iftimiciuc), ajutati la scenografie de Iulia Popescu si pe partea de tehnic de Bogdan Ionescu. In rest, introspectiile sunt lasate deoparte, si primeaza emotia pura, nealterata, care, odata mutata de pe scena in public, se transforma in hohote de ras cat se poate de sincer.

Ghengbeng are o structura usor deosebita pentru o piesa de teatru, fiind mai degraba mai multe piese de teatru mici, scenete, as zice eu (dar nu sunt o autoritate in domeniu), care culeg si expun situatii care mai de care mai banale, transformate in umor si lectii de viata.

Mi-a placut foarte mult energia si capacitatea de „cameleonizare”, ca sa spun poetic, de care a dat dovada Maria Popovici, in special in momentul cu „doamna Picasso”, iar Cristiana Ionita a reusit sa fie, rand pe rand, ingenua, prostuta si posibila victima, cu la fel de mult farmec ca si prima oara.

Paul Alexandru s-a achitat onorabil de intermezzo-uri savuroase, si trebuie sa va spun ca e musai sa auziti varianta lui la piesa Un actor grabit, precum si fascinantul moment cu Scoateti-o la timp. In caz ca va intrebati, da, despre asta este vorba. Coitus interruptus pe romaneste si foarte plastic.

Ionut Iftimiciuc mi-a dat impresia unui titirez neobosit, pe cand Alexandru Minculescu a reusit sa se faca parte integranta din toate scenetele in care a avut ceva de spus.

Pana la urma, Ghengbeng a fost un moment amuzant construit de niste oameni care au ales sa expuna in fata publicului consecintele si alegerile naturale in cazul unor situatii destul de comune, si sa extraga de acolo fix elementul lipsa dintre confort si acceptare. Daca la Scrisori pentru Rita ar trebui sa va inarmati cu multa deschidere, la Ghengbeng e destul sa fiti prezenti. Va veti regasi macar intr-una din situatiile expuse, si universalitatea subiectelor din piesa nu va va lasa indiferenti nici macar o clipa.

Review: Scrisori catre Rita – The Show

scrisori catre ritaN-am scris niciodata despre piese de teatru, si cu atat mai putin n-am facut un review complet al unei piese de teatru, dar sper ca entuziasmul din seara aceasta sa ma ajute sa transpun ce se intampla in Scrisori catre Rita – The Show.

Invitatia a venit din partea teatrului In Culise, si am acceptat-o aproape pe negandite, pentru ca de mult le urmaream activitatea, in special cursurile de teatru pe care le au disponibile. Am ales o piesa neconventionala, pentru ca voiam sa vad oameni si caractere aflati la extreme, atat pe scena, cat si in public, si sa am parte de reactii de pe toata scara emotiilor, nefiltrate si pure.

Scrisori catre Rita – The Show reuseste sa faca fix asta. Actul de pe scena e vulgar, direct, dureros, amuzant si sincer, e cam cum am vrea noi sa fim, daca n-am fi atat de incordati si imbatraniti de canoane impuse de altii.

Din distributie face parte Andreea Stafie, care este superba si suplineste rolul de iubita, amanta inchipuita, inger presupus si respiratie pierduta. In cuvinte putine, Andreea da viata mai multor personaje, si isi domina scenele prin prezenta electrizanta si gesturile ei ireale si aeriale.

Alaturi de ea, Stefan Nistor il joaca pe Nic Labis, personajul imaginat de Stefan Caraman, un fel de parodie fara poezie, dar cu foarte mult umor, foarte dezinvolt si canibalic, face din personajul tau un arhetip al zilelor noastre – pasionat de blog, pasionat de comunicarea cu cineva, oricine, fie chiar si o femeie imaginara, macinat de probleme triviale si condus de cel mai inutil cap disponibil, Nic capata profunzime doar cand vorbeste. Si atunci cand o face, nu iese niciodata ceva poetic.

De regie s-a ocupat Cristian Bajora, si de muzica, din ce am inteles, chiar Stefan Nistor (si i-a iesit un superplaylist). Decorul este minimalist, lasand actorii sa se transforme si sa evolueze, sa-si spuna povestile murdare si sa-si expuna gandurile sincere in fata unui public deschis. Atmosfera e perfecta pentru luna decembrie, o luna a povestilor si amintirilor, si replicile lui Nic intaresc adevaruri deja universal valabile – la KFC se intampla iubire, stickul cu melodii preferate a luat locul casetei cu mixuri, shaorma are gust de p*zda si un capot nou poate schimba mentalitati.

Daca sunteti nehotarati si nu stiti daca sa vedeti piesa, raspunsul este „mergeti sa o vedeti”. O sa va dispara din reticente si retineri, si o sa plecati de-acolo razand. Pentru exemplificare, piesa incepe chiar asa:

Ti-am scris un email.
– Sa te f*t!
Tu mi-ai raspuns:
– Asa e frumos?!

Si continua, savuros, cu:

Am luat o sticla de Cola de 2 litri, am ragait de 2 litri jumatate.

Imi cer scuze pentru limbajul licentios, Scrisori catre Rita – The Show m-a invatat cu prea multa libertate.

Review – Sabaton, Eluveitie & Wisdom

I went last night to see a metal show – I haven’t seen one in a long-long time, so when I bought the tickets, last November, I thought „hmm, why not? they are pretty good”.
I kinda waited for this show, because I felt like I needed the out-of-the-ordinary experience, since my life is filled with going out for a coffee or other drinks, going to a club, walking the dog and oh-so-mighty going to work. Metal was good for me, so I tried to review the concert on the spot, step by step, as everything happened.
The outcome? Sort of a tweeted review, if only I had tweeted it (I still don’t use my Twitter account, so you get the picture). Here comes nothing!


Wisdom not so wise, creatively speaking
Lead singer that stars in a Pantene comercial and also does air guitar
Kinda copy cats – Metallica & Bon Jovi circa 80s
Really really average singer, with high school lyrics and GOT references
Necesary time to pass for you to like Wisdom – one shitty beer from Turbojalle (play on words, omg, I am so witty!) (pic here)


Eluveitie – awesome start!!!
* metal is a genre that can be done in pairs – you get introduced by someone you like and you stay there, as some of the couples present there proved*

Awesome vocal, awesome drummer, Anna missing, but it’s still a great show
Lots of people stuck in the 80s – hairwise
I can’t say too much about Eluveitie, because they were too awesome to make time to record any of it
This, adding my unnecessary swelling of the hands when it gets crowded, made it a little tough to keep track of things (pic here)

*All the cocalari!!! Cocalari metalisti, but still…*


Sabaton ruled the house
Their raw power, and drums and guitars moved an entire mass of people
Romanian flag and also goosebumps (according to Sabaton’s lead singer)

Omg, he’s got the moves like Freddie!!!
I want to hit the drums, not play them! Omg, I forgot how to human!!!!

The Ting Tings – That’s not my name… Oups, error!
Sabaton is a magical show – the lead keeps appearing and disappearing on the stage, makes me think he’s related to Flash
We got to chose the next song, but then we didn’t. Into the fire!
Still wanna be a drummer! Muhaha!
Now I’ve learnt how easy it is to become an arena band – Iron Maiden style
Swedish time!!! A lifetime of war – easy pick
Swedish – such a beatiful language, I can’t understand shit :))
ABBA, wtf is wrong with us? :))
Weird music, omg!
And then some emo stuff…
So I had to go, cause of all that tiredness and stuff… (pic here)

Wisdom 4/10
Eluveitie 10/10
Sabaton 8/10

Review (and disappointment): 2CELLOS & Naya Rivera – Supermassive Black Hole

I am late to the party, yet again, but I can’t help it! Life gets into the way everyday, so… Some news just arrive a lil’ bit late.

First of all, I love 2CELLOS. Who does not know what 2CELLOS are, please check their Youtube channel for further information on the matter.

Next, I love Naya Rivera. If you don’t know who this lovely lady is, then maybe you’re not a Glee fan (like yours truly), so I’d go ahead and suggest one of her songs in the TV show. Mostly covers of Miss Tina Turner, Michael Jackson and Amy Winehouse. Regardless, she’s kept in the background, used when the producers want to teach us about mean & vile things to say, or about LGBT, or when they want an awesome number on the TV show, spiced up with some Latina sexyness.

I also love Muse. Ever since I was a little girl, Muse was among my favorites, and that didn’t change a bit through out the years.

I also love „Supermassive Black Hole” by Muse. It’s one of their songs that always had a place in my playlists, and rare were the moments when I used the power of skipping songs when the song came up.

So I thought „hmm, „Supermassive Black Hole” covered by 2CELLOS and Naya, this MUST be awesome!”

Except it wasn’t. The video looks kitsch-ey, Naya Rivera looks like a trashy Catwoman, even though her level of hotness is usually over 9000. 2CELLOS blend ok in the futuristic background, I don’t get what’s with the 3D chess game, but ok…

The song is the worst part of this combo. I haven’t heard a song so bad by 2CELLOS (not counting the weird collaboration between them and RHCP). Naya’s vocal abilities aren’t used full power. We’re given some weird auto-tune or whatever that is, in a lame atempt to copy whatever Matt Belamy managed to make out of „Supermassive Black Hole” something incredibly awesome.