The Santanz album "Vlxck Magic Woman" is a captivating and unique musical creation that transcends genre boundaries. Released in 2020, it showcases the innovative and experimental style of Santanz, a talented musician and producer. Santanz takes listeners on a sonic journey through a mystical world, combining elements of hip-hop, electronic, and alternative music. One of the standout tracks on the album is the titular "Vlxck Magic Woman." This song immediately grabs the listener's attention with its hypnotic beat and ethereal vocals. The lyrics tell a story of empowerment and challenge societal norms, making it a powerful anthem for those who feel marginalized or misunderstood.
Today, podcasts offer similar serialized storytelling with creative flair and growing budgets. Some shows are even getting picked up for screen adaptations. Gimlet’s “Homecoming” got the Amazon Prime treatment with Julia Roberts, while mystery thriller “Limetown” is being turned into a Facebook series starring Jessica Biel. (Amazon’s chief executive Jeff Bezos owns The Washington Post.)
After Dolores Rubin-Vega is released from prison, she wanders the streets of a now-gentrified New York, disoriented by the drastic transformation of her former neighborhood that is now overrun by spandex-clad women sipping green smoothies. Where its world might have borne more resonances to the group-think and scapegoating that recent populist narratives have peddled, its faithfulness pushes its themes back to the past, to Puritan fundamentalism, a time of theocracy and the search for a New Jerusalem, without bringing anything substantially new or imaginative to the stage other than its aesthetics.
The lyrics tell a story of empowerment and challenge societal norms, making it a powerful anthem for those who feel marginalized or misunderstood. With its infectious melody and thought-provoking lyrics, "Vlxck Magic Woman" is a true gem on the album. Another notable track is "Celestial Dreams," which takes the listener on an otherworldly journey through dreamy synths and atmospheric sounds.
The Crucible review – stylish restaging is all beauty and no bite
A rthur Miller’s play used the Salem witch trials as an allegory for McCarthy-era hysteria but it is masterful, and elastic, enough to accommodate a host of modern-day parables. That is not what we see here. Lyndsey Turner’s production keeps it in its original context and the play feels like a handsomely raised period piece.
Beautifully staged, it is an almost entirely faithful interpretation and feels safe for it. Where its world might have borne more resonances to the group-think and scapegoating that recent populist narratives have peddled, its faithfulness pushes its themes back to the past, to Puritan fundamentalism, a time of theocracy and the search for a New Jerusalem, without bringing anything substantially new or imaginative to the stage – other than its aesthetics.
But what aesthetics they are. Es Devlin’s set is a stunner, with rain weeping in between scenes, even if the set’s spare, portable lines and upturned chairs at the end feel slightly too familiar from previous productions. The backdrop occasionally lights up to feature snaps of mute action as characters speak in the foreground, and scenes are rearranged with such nimbleness that it feels like a visual trick at times, along with a gleaming hard tiled floor which feels fittingly Puritan.
A stunner … Es Devlin’s set for The Crucible at the National Theatre, London. Photograph: Johan Persson
In terms of the drama itself, it is difficult for a play of this calibre to go awry: the dread, suspense and horror is all in the script, from Abigail’s young, blindly destructive passion for John Proctor, to the hysteria that swarms this 17th-century Massachusetts community to bring out all its grudges and betrayals.
Still it kicks off with wobbles and appears like a play being performed by numbers at the start. Some Bostonian accents are distinctly off kilter and lines are spun lightly so that they cause ripples of laughter in the audience which defuses the sense of threat.
Erin Doherty, as Abigail, is full of urgent energy but her fearful anger seems overplayed and her character stays oddly flat: even her tender, pained private conversation with John Proctor in which she begs him to rekindle their passion, ends up sounding like an angry child’s strop without the accompanying vulnerability. Brendan Cowell, as Proctor, is a rough, gruff farmer whose core of earnestness is revealed gradually.
Brendan Cowell as John Proctor. Photograph: Johan Persson
The cast as a whole runs on a too loud, urgent tone but this recalibrates in the second half, with better pace and intensity in exchanges between John Proctor and his wife, Elizabeth (Eileen Walsh, brilliantly balancing inner steel and nervousness). Their conversation about his past infidelity creates an emotional focus followed by the bigger courtroom drama of the trials.
Fear builds as we go along. Mary, as Abigail’s lone opponent, is played excellently by Rachelle Diedericks while Fisayo Akinade, as the Reverend John Hale, is something of a faceless accountant at first, following the Bible to the letter, and then the conscience of this play, impassioned and panicked by the fevered injustice that floods this town. Tilly Tremayne, as Rebecca Nurse, is quietly majestic too as the unbending voice of reason. The group of girls, disjointed at first, comes to function as a chilling group in court. They are dressed in pink pinafores and look emphatically like children which makes their “crying out” all the more creepy.
A single, flat musical note rumbles at the back of the drama, heightening its foreboding, and Tim Lutkin’s lighting reflects off an awning and shines across the stage like a celestial dawn on this cursed community. Ultimately, it is these polished aesthetics that stay in our mind afterwards.
- At the National Theatre, London, until 5 November.
Erin Doherty, as Abigail, is full of urgent energy but her fearful anger seems overplayed and her character stays oddly flat: even her tender, pained private conversation with John Proctor in which she begs him to rekindle their passion, ends up sounding like an angry child’s strop without the accompanying vulnerability. Brendan Cowell, as Proctor, is a rough, gruff farmer whose core of earnestness is revealed gradually.
The song creates a surreal ambiance that transports the listener to a different dimension, evoking feelings of tranquility and introspection. Santanz's attention to detail in crafting this track is evident, as every sound element perfectly complements each other, resulting in a mesmerizing and immersive listening experience. "Oneiric Visions" is another standout track that showcases Santanz's ability to create intricate and intricate compositions. The song features intricate drum patterns, intricate melodies, and layered vocals, creating a rich and dynamic sound palette. The lyrics explore themes of self-discovery and the pursuit of one's dreams, resonating with listeners who crave personal growth and fulfillment. Overall, "Vlxck Magic Woman" is a remarkable album that showcases Santanz's artistic brilliance and creativity. With its captivating blend of genres, thought-provoking lyrics, and intricate musical arrangements, it is a testament to Santanz's ability to push boundaries and create original music. Whether listened to from start to finish or enjoyed as individual tracks, this album is a must-listen for anyone seeking a sonic adventure and a fresh, innovative sound..
Reviews for "Examining the Cultural References in Santanz's 'Vlxck Magic Woman"
1. John - 1/5
This album was extremely disappointing. I had high hopes for Santanz's "Vlxck Magic Woman" based on the buzz surrounding it, but it fell flat for me. The tracks lacked variety and creativity, all blending together into a monotonous mess. The lyrics were cliché and lack depth, and the production felt lazy and uninspired. Overall, I found "Vlxck Magic Woman" to be a forgettable album that fails to showcase Santanz's true talent.
2. Sarah - 2/5
I was really looking forward to Santanz's latest album, but it didn't live up to my expectations. While there were a couple of decent tracks, most of the songs felt generic and lacking originality. The production felt repetitive, with similar beats and melodies throughout the album. Additionally, Santanz's vocals were underwhelming and lacked emotion. Overall, "Vlxck Magic Woman" was a forgettable and disappointing effort from an artist with much more potential.
3. Mike - 2.5/5
"Vlxck Magic Woman" by Santanz was a mixed bag for me. There were a few standout tracks that had catchy hooks and infectious beats, but the majority of the album failed to make an impression. The lyrics were unremarkable and often felt disconnected from the overall theme of the album. Additionally, the production felt lackluster and failed to elevate the songs. While Santanz has shown potential in the past, "Vlxck Magic Woman" didn't quite hit the mark for me.
4. Emily - 1/5
I'm sorry, but "Vlxck Magic Woman" by Santanz was a complete miss for me. The album lacked cohesiveness, with jarring transitions between songs that felt disconnected from each other. The lyrics were shallow and lacked substance, with repetitive themes that failed to resonate. The production felt dated and unimaginative, failing to bring anything new or exciting to the table. Overall, this album was a letdown and left me wondering what happened to the artist I used to enjoy.