The Queen of All that Dies (#1) - Laura Thalassa [Review]

Book: The Queen of All that Dies (#1)

Author: Laura Thalassa

Published: 15th January 2016

Publisher: Burning Ember Press

Pages: 327

Rating: 4/5 stars

So one day, I was browsing through the Amazon Kindle app and I stumbled across this book. It looked interesting enough and had fairly positive reviews on Goodreads, so I thought, why not give it a go.

For me, this was an enjoyable and fun read, with a slightly daft story-line, but there's heaps of potential for the second book.

Now, when I say this was a fun read, I by no means took the book too seriously, and I think it is best if you're in that mindset when approaching it too. This is not a criticism, merely advice. There are several outrageous and ridiculous sections in this book, and the romance between the two main characters is equally ridiculous, but altogether enjoyable if you don't go in expecting to read the literary works of Shakespeare or anything. 

Saying that, the heroine makes draws several parallels between her and her love and Romeo and Juliet, and I just find myself thinking - she does know they die in the end right? 

There are also several comparisons to be made in terms of Beauty and the Beast and Hades and Persephone, the latter being one of my favourite story-lines and myths, and these comparisons definitely serve to make the story-line work.

The characters are engaging and the dialogue easy to read and exciting. Serenity is everything I enjoy in a female character, she has a strong, no bullshit attitude, she is suitably enraged by suffering, and in life, she strives to be equal to men, as opposed to being inferior. 

Although her romance with Montes is very much a case of insta-love (at least partly, for both characters), in approaching the story in a more light-hearted way, I did not mind too much. I liked the character of Serenity enough to feel okay with the automatic love, particularly as both characters can be considered as ~monsters~ in their own right, and therefore loving does not come naturally to them, so it takes them both by surprise. Although, lust is probably more of an accurate description of what they have throughout a lot of the novel. Montes has some fun dialogue and although there are a few sex scenes (so probably not appropriate for the younger reader) these aren't too cringe-worthy, and are fairly tasteful. Montes loves being the alpha-male killing machine, and you do you, Montes, you do you. 

The best parts of this novel are the scenes between Serenity and Montes; I didn't much care for the other supporting characters such as Will etc., however luckily, they didn't feature too much.  

A lot happens in this book and the writing is incredibly fast paced. This means readers are unlikely to get bored and therefore makes for a quick and enjoyable read. I have high hopes for the sequel. There are parallels to be made between this book, and Shadow & Bone or A Court of Thorns and Roses, so if you liked those books, you may indeed like this too. 

And I Darken - Kiersten White [Review]

Book: And I Darken

Author: Kiersten White

Published: 28th June 2016

Publisher: Delacorte Press

Pages: 496
Source: eARC from the Publisher via NetGalley

Rating: 4/5 stars

There was a fair deal of buzz surrounding this book before I approached it, and I had heard good things, so I was definitely looking forward to getting stuck into the story. 

First of, this was unlike any other book I have read previously; the setting was unique - predominantly situated in Turkey, and Romania. The Eastern European backdrop provided a distinctly novel atmosphere, which was much appreciated. Set among many concurrent wars, there were consistent feelings of tension and struggle throughout the novel. 

In terms of the characters, there are a few main, and a wealth of supporting characters to keep you occupied. The main 'duo' is Lada and Radu, daughter and son of Vlad Dracul, a cruel man who has no love for his children, and barely sees them, let alone tolerates them. He despises weakness in people, and whereas Lada is strong, feral, aggressive, and lacks compassion (despite being a girl), Radu is her polar opposite. He is frail, weak, caring, handsome, and loving. 

The book is fairly character driven, and we follow Lada and Radu from their childhood all the way to their early twenties. The story is told from their third person perspectives, which allows you to feel close to the characters, but still retain a sense of detachment, which is just as well if you end up preferring one character to another. For me, I adored Lada, as she is so unlike any other female lead I have ever come across. She definitely does not try to be the hero, and although slightly entitled, she has great ambition and yearns to break free of the 'feeble woman resigned to marriage' archetype that has been laid out before her. 

I found it a little more difficult to connect with Radu at the beginning as he is so unlike Lada and comes across as a bit pathetic and he cries, like, a lot. However, his character really progresses throughout the story when he is forced to make some tough calls, and his relationship with Lada is complex and not so clean cut, which I enjoyed. 

In terms of Mehmed, who could be counted as the main love interest in this book, I didn't much care for him, if I'm honest. I liked him at the beginning, however he is very self-entitled and absorbed, extremely religious, and keeps a tonne of concubines in his harem. There is a bit of a love triangle between him, Lada, and Radu, but it is made explicitly clear that Mehmed only has feelings for Lada which makes the love element less awkward. However, I finished the book feeling overwhelmingly that Lada was far too food for Mehmed. Sorry, dude. 

Furthermore, in terms of Mehmed's security, it's practically non existent. You think the Sultan would have better access to guards and weapons, and you know, protection. But clearly not. I guess this all lends to the idea that everyone always wants to kill whoever is in charge, and this case, it's Mehmed.

There is a plethora of minor and supporting characters in this novel which can at times get a little confusing, however there are some truly noteworthy additions like Huma, Mara, and Kumal. Every character is so distinct from the other, there's really a bag of personalities, and I'm sure readers will find someone to connect with. 

The plot is reasonably paced, with elements of action, and twists and turns here and there, but  a lot is character based, allowing you to experience a lot of satisfying character development. Some sections are more wordy that others, however the level of dialogue to description throughout the novel was reasonable and made for an engaging read. 

Overall, if you're a fan of more dark, gritty novels, then this is definitely one to check out, especially due to the unique setting, which helps to cement this as an engaging and interesting read. 

Ariana Grande - Dangerous Woman [Album Review]

Following on from 2014’s My Everything, Grande is back with a decidedly more risqué and adventurous album; a deviation from her previous work and musical styling. Indeed, in this deluxe ensemble, Grande gives it her everything (sorry, couldn’t resist) and turns to a multitude of musical genres to draw inspiration from (dance, pop, reggae, soul, funk, R&B). Despite some initial doubt about the focus of the album, and the initial removal of lead single ‘Focus’, after some re-structuring and name changing (from Moonlight), Grande settled on Dangerous Woman, named after the second song on the album. This proves to be a welcome change, as ‘Focus’ set up the album to be something similar to a ‘Problem’ 2.0, and there was slight apprehension that this new discography would be simply a rehash of what ‘worked’ before, instead of something fresh or new.

Fortunately, this appears not to be the case, as Grande opts for versatility and substance instead of simplicity and similarity. Of course, the collaborations are still there, and Grande teams up with Nicki Minaj for ‘Side to Side’ and Future for ‘Everyday’. The former arises after the duo established themselves as a featured pair on ‘Bang Bang’ and together on ‘Get On Your Knees’; their collaboration proving to be killer, and this is no exception. This time they make their mark on this reggae/pop banger, flooding the floor with Grande’s signature pitch perfect voice, while Minaj wastes no time in strutting out her verses across tropical beat waves – an overall catchy and confident collaboration. Elsewhere on the album, Grande opts for smooth and funky throwbacks to 90s R&B, with the fresh gem, ‘Be Alright’. As Grande coolly sings “But daylight is so close/ So don’t you worry ‘bout a thing/ We’re gonna be alright”, you instantly feel immersed in nostalgia as she effortlessly glides her way through this breezy addition. Grande may have just found her musical forte.

It has to be said that Grande has some killer writers on Dangerous Woman, particularly Max Martin and Savan Kotecha, and it is their combined effort that elevates the album to new heights of success. This is no more apparent than on the disco-dance-pop smash, ‘Into You’. As Grande drums out “A little less conversation and a little more touch my body/ Cause I’m so into you, into you, into you”, you can’t help but feel engaged, especially with those little nods to Elvis and her comparative idol, Mariah Carey. It’s clear Grande knows exactly what she’s doing, and she goes with it.

It's safe to say the winning streak continues throughout the deluxe version of the album, with ‘Touch It’, ‘Knew Better/ Forever Boy’ and ‘Moonlight’ showing what she can do. ‘Touch It’ is a self-assured and mature song that talks about knowing what you want and not being afraid to go get it, a confident recurring theme that traipses throughout the album. ‘Knew Better/ Forever Boy’ channels the Tinashe sultry smoothness, as Grande explores her inner woman and contemplates her own independence and reflects on relationship experiences in this impressive double dose. Meanwhile, opening track ‘Moonlight’ is reflective of My Everything, full of glitz and glamour with soaring vocals that place you right inside Grande’s world.

Despite these strong additions, ‘Bad Decisions’ leaves a lot to be desired, and almost teases what Grande could accomplish if she had given something a bit more – although her vocals are impeccable as per usual. Similarly, ‘Sometimes’ sounding a bit Ed Sheeran-esque, doesn’t seem to stack up well against her other tracks, and there is something not entirely together about this seemingly out of place song, despite its appreciated synths and instrumentals.

For all its efforts, Dangerous Woman seemingly highlights Grande’s growth as a musical artist, and her capability at lacing albums with rhythmic hits, but also draws attention to her general lack of cohesiveness. In this sense, the album’s general theming seems to be quite disjointed and uneven, and although Grande succeeds in experimenting with different stylings, there are minimal factors that tie and unify these songs together. Nevertheless, her third studio album is a diverse and energetic affair that she sweetens with her soaring vocals, as she delves into personal experiences, displaying intimacy and raw emotion that we haven’t seen before.

Overall, Dangerous Woman is a confident and self-assured addition from a young woman who is exploring her musical versatility and isn’t afraid to experiment with musical genres. Significantly more mature than her previous editions, this album possesses a personal touch, marking the move away from the pristine glossy pop that Grande founded her fame on, and into something suitably substantial. Building upon this new found musical strength, and trusting her remarkable singing voice (which has one of the best ranges in the industry, it has to be said), Grande shows that she can switch between soulful songs and pop-tastic hits and still achieve success for the most part. 

Truthwitch (Witchlands #1) - Susan Dennard [Review]

Book: Truthwitch (Witchlands #1)

Author: Susan Dennard

Published: 14th January 2016

Publisher: Tor

Pages: 400

Rating: 4/5 stars

So I'd heard a lot about this book, some good, some less so, so I wasn't really sure what I would make of this. However, now having finished the book, I have to say I really enjoyed it. 

The world building in this can feel a little overwhelming at times - there is a lot of info ~sort of~ dumped on you about emperors, and domnas and princes, and some areas feel reminiscent of Bardugo's Grisha series, however, for me, it didn't detract from the story, as the main draw of this novel, for me, was the characters.

I really enjoyed the characters. There's something for everyone, really. Safiya is strong-willed and a bit hot-headed, so she's definitely a flawed type-of heroine, she's the ~main gal~ everyone wants to get their hands on (think Alina Starkov from the Grisha series, but less ditzy), however the real star of the show for me was Iseult. She's shunned by many for her heritage, and believes herself to be just a defunct threadwitch, although, as all stories go, there's much more to her than that. She's the dark to Safiya's light, and I really enjoyed her sections of the story. I also like their friendship, and their pairing is definitely more complimentary, and it really works. They are often found fighting in tandem against a bunch of threats, and they know their way around a cutlass, which I loved. 

In terms of the guy characters in the book, the two 'big' ones are Merik and Aeduan. Merik is your classic ~good guy~, he's loyal, passionate, true, and a man of the people. He can also dish out a fair bit of sass, so he had a fair few enjoyable lines throughout the book. The relationship between him and Safiya is predictable, but sweet, if you like that sort of thing.

However, one of the most interesting characters in this book is Aeduan. He's such a complex and layered character, on the surface he is vicious and intimidating, but there's clearly more going on under the surface. I'm excited to see how his character will develop, particularly his relationship with Iseult, as I think there is a lot that could happen there, and they are both very intriguing characters. 

Other honorable mentions go to Evrane (who reminded me of Brienne of Tarth from Game of Thrones, although I've no idea why - maybe it was the combination of strong fighting skills, and a moral, unfaltering outlook?) and the puppeteer, the latter who provided a consistently creepy presence and I'm definitely looking forward to how her character and story-line progresses in the next book, especially her connection to Iseult.

Overall, this was a really enjoyable read, and I think that the definite jewel of this book is the intriguing menagerie of characters. I shall be definitely looking forward to the sequel. 

Uncharted 4 (2016) - [Review]

It’s been 5 years since Drake’s Deception, and Uncharted 4: A Thief’s End has finally landed. Set 3 years after the events of the former, Nathan ‘Nate’ Drake (Nolan North) is living a meagre existence as a salvager with his wife Elena (Emily Rose), although neither of them seem entirely happy – but hey, there’s plenty of antiques in the attic to cheer them up. However, suddenly Nate’s long lost presumed-dead brother Sam (Troy Baker) shows up, and he’s in need of some pirate gold fast, since he claims that Hector Alcazar (Robin Atkin Downes) has given him three months to find the treasure or else (needless to say, it’s up to you to help him). Teaming up to find Captain Henry Avery’s mammoth fortune, the two brothers encounter an old partner, Rafe (Warren Kole), who is also searching for the treasure alongside mercenary Nadine Ross (Laura Bailey). Now the Drake brothers must enlist Victory ‘Sully’ Sullivan (Richard McGonagle) to aide them in their quest to find the Pirate’s booty – but of course, it’s never that easy.  

One of the things that strikes you the most when playing is how captivating the visuals of Uncharted 4 are. It’s a masterclass in dedication to complete immersion and the graphic visuals in the game are stunningly crafted and envisioned. From the Italian architecture to tropical shores, the snowy hilltops of Scotland cliffs to the gorgeous African plains, every destination is expertly designed and the attention to detail is astonishing. It would certainly be fair to say that Uncharted 4 has significantly raised the bar for visual graphics, and all involved should be immensely proud of themselves and their creation.

As aesthetically pleasing as the game is, it doesn’t rely on this sole element to carry the game to completion – instead, the narrative is actually one of the most cohesive and adventurous, and the inclusion of new and old characters makes it one of the most compelling. As Nathan, you get to team up with Sully, his brother Sam, and even (spoiler) Elena at one point, the latter of which is refreshing and the gameplay would have proved a bit repetitive if it had been a constant Sam/Nate outing. The characters and dialogue are humorous and appropriate, and the voice actors really give each character life and personality, with Elena and Nate’s goofy, loveable and dynamic relationship properly given its time to shine, as well as old buddies Nate and Sully. The backstories of Sam and Nate are too, given more screen time in this epic chapter adventure, as we are transported to their childhood and learn where they got their passion for treasure hunting and their infamous last name – certainly not something to miss out on.

The action sequences and gameplay options are also greatly improved, as is their seamlessness; the cinematic switching between cut-scene and gameplay scenes are enviable and may actually make you forget that you have to start playing again. The introduction of stealth elements allows you to be a bit more calculated with your kills (afforded to you by long grass and cover), whilst the different weapon options increase your versatile arsenal; grenades, pistols, assault rifles and RPGs are just some of your options. 

The handy grappling hook allows for high-intensity action sequences where death is a mere missed grapple away, or an ill-timed jump from a rope swing. But it doesn’t stop there, and players can now take control of vehicles – like Sully’s jeep – to traverse vast landscapes and uncover hidden treasures (which are everywhere on the massive map) and scale mud slides and cliff edges with the useful winch. The diversity of weapons, and optional stealth kills allow for the game to be played in a multitude of ways (although, if you go in all guns blazing, you may find yourself at the wrong end of a sniper rifle), which increases enjoyment and investment in the game’s outcome.

Uncharted 4 combines problem solving elements – in the form of pirate and pattern puzzles – with engaging action sequences (and equally funny death scenes should you fail) and incredible visuals for a truly remarkable and innovative game that makes use of the technology available. So, get ready to sail off with Nathan Drake for his final outing as the infamous treasure hunter, as Uncharted 4 has succeeded in making sure his send-off is one to be thoroughly celebrated.

BABYMETAL - New Music Spotlight

BABYMETAL. An intriguing name for a group, and the concept perhaps even more: a trio of 'cutesy' Japanese girls that happen to sing along (and rock out) to heavy metal music. But Su-metal (lead singer), Moametal, and Yuimetal are much more than that, and their music has had quite the dramatic effect on the world - and this is what makes them our new music spotlight for this week. 

Over the years, our spotlights (also known as our new music discoveries) have focused on international music, covering the rise of French singer Indila, to the enigmatic Stromae, and violin-dubstep artist Lindsey Stirling, all of which you can read about above. But this time we're heading all the way to Japan - and although we have previously discussed our favourite K-Pop videos - Japanese idol bands have a whole different following, conceptual style and musical influence. BABYMETAL is perhaps one of the most intriguing phenomenons, whose tour sells out all over the globe, and whose fans are every bit committed to rocking out along with the metal members as they are. 

While the concept seems novel, the execution is anything but, and the group benefits from its strong instrumental roots and the stage presence of its singers; all three of them. While Su-metal does most of the main vocals (most likely due to her age of 18), Moametal and Yuimetal perform some impressive supporting vocals, and have become even more involved as they have grown older. It certainly begs the question as to what the trio could accomplish in five years, considering their rise to mainstream fame and growing popularity amongst a multitude of audiences. 

But what makes BABYMETAL so appealing? Is it their energetic and enthusiastic performances? Or their own personal style combined with bubbly personalities? Or the music itself? There are no shortage of things to love about the group as a whole, even if the members itself admit to being "afraid" of hearing metal music for the first time (they were created as a group by a Japanese idol company). Oddly enough, this just makes them more loveable and endearing. 

Each member has their own subtle and unique styling that ties in fittingly with the rest of the group's signature colours (black, red and silver). Su-metal usually has a different torso styling or cover, and her hair in a ponytail, whilst Moametal has one ringlet pigtails and usually a tutu, and Yuimetal has multiple smaller ringlet pigtails and a tutu to match. Not to mention the signature hand movements, signs and dances the group perform, much to an eager crowd's delight. And let's not forget their allegiance to the 'fox god' (their version of the metal 'rock out' finger sign). All of this makes BABYMETAL what they are, and the idol group just keeps going from strength to strength with every album they make. 

Their first studio album, simply entitled Babymetal, was released back in 2014, and contained their signature song 'Gimme Chocolate!!' - as well as several other classics, such as 'Megitsune' (one of their best) and 'Ijime, Dame, Zettai'. Following up from this, the group released their second studio album, Metal Resistance (containing incredible anthems like 'Karate' and 'Road of Resistance'), earlier this year in March, which received positive reviews and skyrocketed to the tops of charts in Japan, the UK, Australia and the US - an incredible feat for such a young group. 

The future is certainly promising for the trio, and whilst it could be difficult to understand the appeal of 3 young girls rocking out to metal music, if you watch one of their videos or concert sets, maybe you'll see why. Their energy, humour and personality shines through each of their performances, and it is perhaps the sheer joy that you can get from listening and watching them that inspires others to just take a step back and immerse yourself in something you've probably never heard before. 

Melanie Martinez - Cry Baby [Album Review]

If we were to tell you that Melanie Martinez was a competitor on The Voice you’d probably assume she had dipped back into obscurity – especially if we told you she was eliminated in week 5 – but you’d be wrong. Martinez didn’t stop there and instead chose to pursue her passions and thus, Cry Baby was born. Martinez’s musical stylings are similar to that of Marina and the Diamonds – both in tone and layering – and the album is representative of this, evoking fond Electra Heart memories, whilst her vocal styling is more similar to that of Halsey. But Martinez possesses a star quality of her own, and her album feels entirely personal from beginning to end, and not just a mere rehashing of what someone else has done before.

Like Diamandis, Martinez’s music is no fun-house, and behind every door is a disturbing musical surprise waiting just for you, in the best possible way. The sickly sweet theming continues throughout the album, with Martinez offering up track after track of candy-coated instrumentals and sinister lyrics; an effective way to have your thoughts easily digested by listeners. Overall, Cry Baby is an experimental pop album at its core, and utterly committed to its core theming of infancy, complete with samples of crying, liquid pouring, and soap sounds, which adds unique acoustic elements.  

‘Dollhouse’ and ‘Cry Baby’ are some of the most intriguing songs on the album, incorporating though-provoking lyrics, upbeat pop tempos, and catchy choruses. Drawing on her childhood nickname, the latter shows the amount of attentiveness and commitment Martinez has contributed to make her kiddie creation come to life in such vibrant and creative ways. ‘Carousel’ – featured on American Horror Story: Freak Show – is a fairground for the ears; spectacular and breath-taking, whilst ‘Pity Party’ is a misfit’s anthem for every generation. ‘Tag you’re it’ combines dark concepts like sexual assault with childhood games to emphasize the ingrained nature of entitlement to women’s bodies, and it works. ‘Mad Hatter’ takes the Alice in Wonderland motif to a new level and runs with it down the rabbit hole, marking another triumph for Martinez.

Whilst Cry Baby stays true to its conceptual idea, some tracks – when lined up with the other absolutely artistic creations on the album – fall short, and ‘Pacify Her’ is just average, whilst ‘Alphabet Boy’ wanders into bizarre territory. But when you’re aiming for an ambitious album like this one, you’re bound to have a few fatalities.

However, Cry Baby’s juxtaposition of sugary superficial sounds and harrowing, heartfelt lyrics give the album its edge above competitors in the alt-pop scene and Martinez’s cotton candy creation is as delicious as it looks on the cover. Overall, the 13-track album is a combination of pure ambition and imagination.

The Rose and the Dagger (The Wrath and the Dawn #2) - Renee Ahdieh [Review]

Book: The Rose and the Dagger (The Wrath and the Dawn #2)

Author: Renee Ahdieh

Published: 26th April 2016

Publisher: G.P. Putnam's Sons Books for Young Readers

Pages: 420

Rating: 3/5 stars

Following on from The Wrath and the Dawn, comes the conclusion to the duology, The Rose and the Dagger. I was fully expecting to love this book, and whilst I enjoyed it, I was left a little disappointed.

However, I will say that this book is, like the first, beautifully written. Ahdieh has such a way with words and that is really what carries this book first and foremost. There is a stunning poetry to words, which I loved. I also enjoyed the magical elements (would have liked more) and the setting is spectacular.

So, why didn't I love it? A few reasons: 

1) The story is incredibly slow moving in the first two thirds of the book. Although there is a lot of talking, and thinking, the story never really progresses, and I was waiting with baited breath for something to happen.

2) To perhaps make up for the slow moving first and second act, the last segment of the book (just over 100 pages or so) moves incredibly fast. Like, I'm talking lightning speed fast. There were so many plot twists and turns in this segment that I was left thinking - why couldn't this have been spread out evenly throughout the first two parts?

3) Significant trials from the first book are accomplished in this book with relative ease. I'm particularly referencing the curse on Khalid from the first book here. Everything seems to slot into place and the curse really plays no big factor in this book at all. It's all very convenient and anti-climatic. 

4) Strange and lacking character developments. Some characters seem to act ridiculously out-of-character, and particularly in the last couple of pages, characters are discarded, killed, revealed to be good guys etc. in rather implausible ways. I would have also liked to see more development of other characters, like Artan, or Rahim. The only two characters who maintain basically the same foundations are Shazi and Khalid. 

Ultimately, I felt like there was too much to accomplish in this book, and that for only a duology, the book moved incredibly slowly to start off with. Although I enjoyed the ~girl power~ moments, all the enjoyable segments were segregated to the end of the book, at which point I had slightly lost interest. 

The Wrath and the Dawn worked for me because it was a story rich with detail and romance. There were supporting characters, but the story was mainly about Shazi and Khalid. As a standalone, I loved it. However, it feels like the loose threads left by The Wrath and the Dawn needed to be tied up in a much more progressive manner, as opposed to what was presented in The Rose and the Dagger.