Drake: VIEWS Album Review

The first time we heard about Views was in July 2014, when we still knew it by the superior title Views from the 6. (I’m going to be resentful about this for a while; Views is snappy, but Views from the 6 has an air of importance that the new title lacks.) Bits of information about the album bounced around for the following 18 months, involving several surprise standalone single releases, two mix-tapes (one solo and one a collaboration with Future), and a general public agreement that whatever Drake’s next release sounded like, it was going to be his quintessential artistic statement. Views was set to be Drake’s big album, after two albums that already strove for that title. Now that it’s actually out, I can tell you…yes. It’s big. 19 tracks, nearly 80 minutes (slightly shorter than Take Care, but a good 20 minutes longer than Nothing Was the Same), and a plethora of ready-made Drakeisms. Drake may not be “making a statement” in the way people might expect him to, but there’s no denying he’s saying something.

Exactly two minutes into Views, something beautiful happens. Up until then, “Keep the Family Close” follows Drake’s established musical formula distressingly closely. If the melodies don’t make this apparent, the one-liners do—the hook begins with a typical Drake lyric in “all of my ‘let’s just be friends’ are friends I don’t have any more”. Two minutes in though, Drake sings “you went and chose a side that wasn’t mine” and suddenly a burst of percussion cuts through the track’s emotionally insulated navel-gazing and explodes into something a tinge darker, more mysterious, something altogether new. “You’re so predictable, I hate people like you,” Drake sings, and for one of the first times in his career, his bitterness is actually palpable, glaring at us from the forefront instead of hiding behind a veil of nonchalance. Does this fierce wonder stay long? No, it doesn’t; the song resolves back into standard Drake fare within seconds, with reprises of that pivotal moment sounding hollower than first contact.

To be honest, Drake could probably make a living doing the same thing for his entire career, but Views makes it clear that he’s at least trying to break new personal ground. Without Drake’s artist attribution, there’d be virtually no way to tell it came from his album, which counterintuitively makes it stand out. “Weston Road Flows” is another highlight, with a beat and delivery reminiscent of a good freestyle. It’s one of the few tracks to effectively show off Drake’s rapping capabilities, even though I’ll always prefer him as a singer (with or without auto-tune).

Almost all of these good points have one thing in common, though: they’re the aspects of the album that have the least to do with Drake himself. His lyrics—by far Views’ weakest link—exemplify this discrepancy more than anything else. Also taking Kanye West’s verse off of “Pop Style” reveals just how dull the song is at its core, with Drake sounding like he needs to seriously revise his sleep schedule as he lazily flows over a beat that’s far too minimal to be in any way interesting. Yes, Views is both too long and slightly underwhelming, but there is a glimmer of something more poignant beneath its bloated surface. Drake might need some time to figure out where that comes from, but I’m still holding out hope he might. I don’t imagine there are many other Toronto rappers vying for the title of 6 God.

10 Cloverfield Lane Review

It might not be a direct Cloverfield squeal, but 10 Cloverfield Lane is a thumping night out to the movies…

Arriving fully formed out of the mystery box, to the surprise and (mostly) delight of people everywhere, comes 10 Cloverfield Lane, a title which can’t help but give you certain expectations about a movie.

So, first things first. Is it a sequel to giant monster film Cloverfield? Yes and no. It definitely fits into that universe, but we’re not seeing monster attack part two. There’s a couple of Easter eggs dropped for those paying attention. I think JJ Abrams‘ description of it as a ‘spiritual sequel’ is pretty much on the money here. Imagine it being the two films being the perfect double bill. Originally entitled The Cellar, this one does feel like a separately conceived film that is now a franchise picture, in what may a glimpse into the future of move marketing. This might antagonize those of you who were expecting a more direct link to the first film, but it’s worth checking your expectations on that front.

A young woman named Michelle (Mary Elizabeth Winstead) is in a devastating car accident, but survives. She awakes to find herself a prisoner in an underground bunker inhabited by a paranoid man with a short temper named Howard (John Goodman) and a go-with-the-flow slacker named Emmett (John Gallagher Jr). Michelle is informed by Howard that the entire world has succumbed to some sort of alien attack and the three of them are the sole survivors.

Take a look at the trailer for 10 Cloverfield Lane below:

There is this uneasy atmosphere that is thick and everlasting throughout “10 Cloverfield Lane.” The film is constantly shifting in making you think that the story is going this way or that way. You are consistently questioning whether Howard is being truthful or not and just what is happening on the outside of that shelter. That isolation these three characters put themselves through is felt on the other side of the screen though. There are moments when you feel just as trapped as the characters in the film and cramped spaces send this wave of claustrophobia shivering up your spine.

Since the film chooses to follow only three characters, it allows the story to explore those three characters and flesh out interesting details to their backstories over the course of the film’s 100-minute duration. You become accustomed to fearing Howard’s next move, rooting for Michelle’s escape, and relating to Emmet’s laid back demeanor. It becomes easy to imagine yourself in the same situation under similar circumstances, which is perhaps the most unsettling aspect “10 Cloverfield Lane” has to offer.

“10 Cloverfield Lane” has redefined the micro-budget film. The performances are spectacular with John Goodman in particular pushing the boundaries of fright and terror. The story is full of thrills and unexpected turns with an ending that will only leave you drooling for more. “10 Cloverfield Lane” is the jaw dropping and panic-inducing thriller 2016 never knew it needed yet wouldn’t be as memorable without it.

Kendrick Lamar drops surprise ‘Untitled Unmastered’

Kendrick Lamar’s new release, Untitled Unmastered, is available now on Apple Music, iTunes, Spotify, and Tidal. The rapper has called the record a “project” rather than an album, containing a set of recordings originally made in 2013 and 2014, in preparation for his last album, To Pimp A Butterfly. Spotify leaked information on Untitled Unmastered earlier today, including its name and ambiguous eight-song track list, which features the word “untitled” alongside a series of dates and nothing else.

TDE CEO Anthony “Top Dawg” Tiffith announced plans to drop something new from one of his artists this week. Some expected it would be music from ScHoolboy Q, SZA, or Ab-Soul, but instead, he decided to release something from TDE’s golden boy. Prior to this, fans  tweeted Tiffith and urged him to release the untitled Kendrick tracks.

These “untitled” tracks are not all new to Kendrick fans, as he’s performed some of them in the past including the final episodes of The Colbert Report back in December 2014, and then later on The Tonight Show Starring Jimmy Fallon.

Details are still hazy about the album, but super-producer Swizz Beatz is claiming that Egypt, his son with Alicia Keys, produced track No. 7. Meanwhile, Robert Glasper’s recent re tweets seem to indicate he plays piano on track No. 5, and noted producer Cardo worked on cut No. 2 and 7.

In an interview with 2 Dope Boyz, Lamar spoke about the “chamber of material” he held back from the influential project due to clearance issues, some of which he’s used for performances on late night talk shows and during his stunning Grammy’s performance. “I got a chamber of material from the album that I was in love where sample clearances or something as simple as a deadline kept it off the album,” Lamar said. “But I think probably close to ten songs that I’m in love with that I’ll still play and still perform that didn’t make the cut.”

Now we finally get to hear the music.

Bryson Tiller ‘Trap Soul’ Album Review

Bryson Tiller proved to be one of the most esteemed breakout acts this year after he reached our radar this past spring after the release of his smash hit “Don’t.” The Kentucky singer-songwriter wasn’t just all hype either; his monumental debut studio album Trap Soul proved that he’s able to flawlessly execute what so many have tried and failed to do: create great ambient-wave-trap-R&B music. Tiller found the perfect balance of what we all like about the sound and conveniently made it his own.

Spacey sounds fill the 14-track album, a project that features no collaborations, allowing Tiller to shine on a proper debut. This creates an atmosphere for introspection and laid-back vibes. But songs like “502 Come Up,” detailing the newcomer grinding for what’s rightfully his, can also get listeners up and motivated.

“For years and years we waited on this / Living in a place folks didn’t know exist / Surprise motherf—er we up in this bi*ch / I said I’m back and I’m so much better / I’m so, so much better / And I won’t stop (Louis),” he rhymes over a shoulder-bouncing beat filled with the tinkling of bells.

With that nod to his gaming side, Tiller isn’t afraid to throw references to his nerdom in his music — making him more versatile and relatable to Japanese anime-heads or comic book aficionados. He especially makes references to the ’90s anime staple Dragon Ball Z.

However, it’s swoon-worthy tracks like “Don’t” and “Exchange” that have proven to be the fan favorites, and for good reason. The Dopeboi-produced “Don’t” finds Tiller trying to catch a girl whose lover broke her heart while on “Exchange,” the crooner reminisces on the good times of a past relationship.

But another gem lies in “Been That Way.” The slow burning, mellow beat is matched with head-nodding drums as he displays his vulnerability: “I wanna know how we became so distant girl / The way we fell in love it was almost instant.” He follows up with: “I try not to think about you / What can I say, every time I get near you / I want that old thing back, now bring it to me.” Tiller confirms that it’s “always been that way.”

The album closer, “Right My Wrongs,” completes the musical journey with a more traditional R&B sound. The 22-year-old flexes his songwriting skills here by using his own faults as a catalyst for change. He also enlists the tender vocals of an unknown woman, serving as a solid contrast to his own voice. “Could it be you calling me down? / My foolish heart turns at the stars / All that I am is all that you see / You don’t need nobody else, and you’re putting this all on me, forgive me,” they sing together.

Trap Soul works on a number of levels. Whether it’s a turn up moment or being all up in the feels, each song resonates for a specific occasion. For hopeless romantics who are trappers at heart, this is also their soundtrack. “Ten Nine Fourteen,” a candid track that sounds more like a freestyle Tiller let off in the booth, is indicative of his mindset as a whole on this project. “My n—- give me the throne,” he delivers. He certainly isn’t ready to be crowned king, but he’s already proving himself as a likely heir.

Sons of Anarchy Series Review

Sons of Anarchy – Season One Review

In the town of Charming, California, the outlaw biker gang The Sons of Anarchy (also known as SAMCRO) is in charge. They dispense justice and regulate the crime and dangerous dealings in the town. Stories about biker clubs have been almost exclusively in the domain of feature films. That television has finally crafted a real gem around the archetype of outlaw loners is less a surprise than a long-overdue matter of course.

One of the advantageous developments in cable TV is that after the door got busted down by series like “The Sopranos” and “The Shield” and others with grit, ferocity and intelligent anti-heroes, the new coda became that risk aversion is passe. All the good guys are on network television trying to please advertisers. All the conflicted souls, all the burned-out husks of humanity who question the world and their place in it are on cable.

But still – something like “Breaking Bad” on AMC? Never saw the meth-making, dying-of-cancer high school teacher coming. And there’s a sublime beauty to the uniqueness of the “Mad Men” milieu. You can’t look at those premises and say, “Boy, what took them so long?”

But a drama about the inner workings of an outlaw motorcycle gang? Now there’s a cable no-brainer. And finally – gloriously – “Sons of Anarchy” arrives tonight on FX, the cable channel where it should thrive. (Most of the really daring series on basic cable started at FX, which developed the pilot for “Breaking Bad,” by the way.)

“Sons of Anarchy” premieres one day after the opening episode of the final season of “The Shield,” and there’s something fitting about that, given that “Sons of Anarchy” creator Kurt Sutter has been a writer and executive producer on “The Shield” since it started.

Here’s a guy who knows how to tell a story and who understands the complexities of anti-heroes. Along with executive producers John Linson (this is his passion project) and Art Linson, Sutter has crafted what might easily be described as a kind of West Coast “Sopranos.” More accurately, though, “Sons of Anarchy” is “Hamlet” on a Harley.

There are similar contrasts within the group itself: Charismatic hero Jackson “Jax” Teller (Charlie Hunnam) is a relatively sensitive soul, trying to steer his club from a path of violence and crime toward one of diplomacy and legitimate investments. He is also, functionally (and intentionally), Hamlet — though instead of a ghost directing him to vengeance, Jax has discovered an unpublished manuscript by his late father, decrying SAMCRO’s fall from “a Harley commune” practicing “social rebellion” into racketeering and moral “chaos.” Indecision doesn’t seem to be his defining flaw, but he is waffling between world views.

There are moments that require you not to think too hard, and some of the black humor doesn’t overcome its fundamental nastiness. But on the whole, it’s a superior package, intelligently constructed and handsomely executed. Hunnam, Perlman and Sagal — a fine actress with so much more to her than Peg Bundy — ride at the head of a large and excellent cast that includes “Sopranos” vet Drea de Matteo as Jax’s drug-addicted, pregnant ex-wife; Maggie Siff (Rachel on last season’s “Mad Men”) as his old girlfriend; and Mark Boone Junior as a biker accountant.

Sutter gives them good scenes to play; he knows how to bury information within action and doesn’t tell you everything he thinks you need to know about a character within the first hour. That alone gives you a reason to come back.

Sherlock – TV Review

Sherlock Season One Review

Now, this is a story all about how returning army doctor John Watson (Martin Freeman) meets and joins forces with legendary private detective Sherlock Holmes (Benedict Cumberbatch) in this modern-day re-imagining of Sir Arthur Conan Doyle’s classic characters of Sherlock.

It may seem odd that the most unabashedly entertaining new show of the season is built around an almost overly familiar, formerly Victorian detective, but the evidence is indisputable. Ingeniously re-conceived by Steven Moffat and Mark Gatiss, the revivalist team who breathed new life and sharp wit into Doctor Who, this modern-day British twist on Sherlock Holmes takes Sir Arthur Conan Doyle’s beloved creation and moves him lock, stock and deductive reasoning into a present-day procedural.

As impressive as Moffat and Gatiss’ work may be, it would not register nearly as well without the fabulously amusing star turn by Benedict Cumberbatch, a well-regarded British actor who should now become an American household name. Putting his distinctive stamp on an oft-played role, Cumberbatch turns Sherlock into an adorably aggravating blend of House, The Mentalist and Sheldon from Big Bang — while making him completely, compellingly his own.

It’s not slow to get out of the blocks, either. This first season contains all of the elements that would make the show great: clever plotting, a tremendously witty sense of humour and an inventive visual milieu among them. But even all that would make the show merely very good; it’s the central characters and performances that make it great. Freeman and Cumberbatch have both graduated to movie stardom since the show’s debut and it’s not hard to see why: their chemistry is immediate, their performances impeccable.

Briskly setting the scene, a wounded Watson — scarred more psychologically than physically by his time in the service — stumbles into Holmes’ orbit and is whisked onto a case involving a string of apparent suicides. But of course there’s more to them than that, as well as the shadowy threat — which comes to fruition in later chapters — involving someone named “Moriarty.”

Cumberbatch is well-suited to the part (as is Freeman), and the writers have done a splendid job of keeping the audience off-balance while weaving in elements of the Holmes mythology. The scenario in the third hour, in particular — as Moriarty taunts Holmes, literally speaking through a string of innocent pawns — proves genuinely suspenseful, and a little chilling.

Best episode: 3) The Great Game. The final scene is in my top ten television scenes of all time, and it caps a thrilling episode that moves at breakneck speed. The teases of a classic Sherlock Holmes villain that cropped up regularly through the majority of the series pay off in an audacious, heart-stopping cliffhanger like nothing you have ever seen before.

Strict purists may object, but for most viewers, this is a Sherlock that can be embraced by devoted fans and by those who have never read a single book or seen a single movie (assuming such people exist). And in a season that has offered too few pleasures and too many failures, it is a rare, welcome bright light.

Daredevil – Netflix Series Review

Marvel’s Daredevil Season One

Marvel has managed to completely reinvigorate the superhero movie in a massive way with the Netflix Series Daredevil. It all began with 2008’s Iron Man and then spread out to the rest of Earth’s Mightiest Heroes, culminating in the release of 2012’s The Avengers. But since then, Marvel hasn’t been content to just focus on the big league superheroes. Daredevil is just the first of four planned series Marvel is making for Netflix, and will be followed by AKA Jessica Jones, then Luke Cage and finally Iron Fist before all four combine for a four-eight episode Defenders mini-series.

The freedom offered by a platform like Netflix has really expanded the potential of TV superheroes. Although DC’s Arrow and The Flash have shown that TV can be a viable platform for superheroes, Daredevil has taken that baton and used it as a billy club to beat back the competition, elevating it to a whole new level and opening the door to expanded possibilities.

When we first meet Matt Murdock in Marvel and Netflix’s Daredevil, he’s a nine-year-old boy laid out on the street immediately after a terrible traffic accident. Matt saved an elderly man’s life, but toxic chemicals seeped into his eyes, causing him to lose his sight. Of course, as we will soon learn, he also gained some special sensory gifts that fateful day.

Years later, grown-up Matt (Charlie Cox) asks forgiveness in a confessional — not for what he’s done, but what he’s about to do. The next time we see him he’s head-to-toe in skintight black, wearing a mask with no eye slits while beating the daylights of human traffickers in NYC’s Hell’s Kitchen. Using MMA fighting skills with a ninja twist, Matt’s alter ego Daredevil is unlike other superheroes: he’s not out to save the world, he’s out to save the neighborhood.

By day, Matt’s a budding defense attorney, along with his partner/best bud Foggy Nelson (Mocking jay’s Elden Henson). Their first client, Karen Page (True Blood’s Deborah Ann Woll) is wrongly framed for murder — Matt’s super-senses read her heartbeat like a lie detector. Meanwhile, the coldly calculating right-hand man of the city’s still mysterious, not-to-be-named-out-loud crime “Kingpin,” attempts to orchestrate her murder. Karen needs more defending that Nelson & Murdock can provide.

Armed with pitch-perfect casting, a deep bench of story material from the acclaimed comic book series, street-level drama with a gritty Taxi Driver-style aesthetic, and astonishing fight sequences on par with the Marvel films, Daredevil has the potential to become one of the best TV adaptations of a superhero property ever.

Daredevil doesn’t even meet his main nemesis, Wilson Fisk (Vincent D’Onofrio), a.k.a. the Kingpin, until about halfway through the season, and even then, the series takes a methodical path to introducing Fisk as a human being. His first major sequence highlights the massive crime lord’s sensitivity and loneliness, as he attempts to woo a warm, flirtatious gallery owner, Vanessa (Ayelet Zurer).

The show’s entire narrative stems from Fisk’s quietly devastating plan to buy up most of Hell’s Kitchen for presumably nefarious purposes, but he sincerely believes he’s doing what’s best for his city, just as Murdock does. In this sense, Daredevil‘s story does get a bit repetitive at times, but is broken up by an increasingly broad swath of subplots.

Daredevil is himself a symbol of a desperate kind of law, the augmentation of Lady Justice to match an era where money is prized over the security of a powerful magistrate, and though Goddard never lets the cynicism of this world override the joy and wonder of Daredevil, it’s clear that he’s spoiling for a good fight.

Jessica Jones – Netflix Series Review

Jessica Jones Netflix Review

On its surface, “Jessica Jones” is well-executed on the level we’ve come to expect from Netflix-produced series, featuring a top-notch cast, solid writing and great use of its New York location to invoke both classic noir and ’70s cinema. Here are some broad strokes about a broad: The show, based on the comic “Alias,” created by Brian Michael Bendis and Michael Gaydos, stars Krysten Ritter as a private investigator with some pretty extraordinary powers, as well as a major instance of trauma that’s left her brittle, paranoid and scarred. She’s not completely isolated, thanks to her one-time best friend Trish (Rachael Taylor), her sometimes client/sometimes lawyer Jeri Hogarth (Carrie-Anne Moss), her maybe one-night-stand Luke Cage (Mike Colter) and her junkie neighbor Malcolm (Eka Darville). But she’s doing her best to survive on her own.

For those who haven’t indulged in any other Marvel properties, ever, you’re in luck. The first mention that Jessica lives in a universe populated by other beings with superhuman abilities doesn’t come until minute 17 of the first episode, and overall the series functions independently from “Iron Man” and the like. This even applies to the previous Marvel series released by Netflix, with one exception: Rosario Dawson reprises her role from “Daredevil” as Claire, but by the time she shows up you’ll forget you were waiting for her (and she’ll charm you either way).

“Daredevil” and “Jessica Jones” do have another thing in common, though. Elsewhere in the Marvel Universe, superheroes may fly overhead, but both shows are much more interested in life on the ground. For “Jessica,” what this means is a deep dive into the realities of trauma: how it shakes us and how the people on the sidelines of battle are forever changed by what happens.

Something always seems to be eating her, the hound of her particular hell always nipping at her heels. Bit by bit, we learn that she’s running away from her own past and, in particular, a manipulative maniac named Kilgrave (David Tennant) who is supposed to be dead.

During a particularly dry period, Jessica seems to luck out when a pair of Midwestern parents hire her to find their daughter, Hope (Erin Moriarty), who’s gone missing in New York. Not an unusual plot element for a detective story, but Jessica quickly realizes that the girl’s disappearance has all the earmarks of something Kilgrave would pull off. And not just because he’s a maniac: He’s trying to get to Jessica herself. They have a history, and it’s not pretty.

Tennant is pure comic book from the minute we finally meet him. We hear his voice at first, and then catch fleeting glimpses of Kilgrave, but the character doesn’t fully arrive for a while. The Tennant we know from the brilliant “Broadchurch” series is closer to the unrepentant cynic that Jessica Jones is supposed to be. Here, he’s closer to Jack Nicholson’s Joker, or any number of over-the-top villains from superhero comic book films and TV shows. The exaggerated performance works because Tennant is good, but it also works because Rosenberg has taken her time introducing him.

The series isn’t perfect. To be honest, it drags a bit and seems repetitive, as though Rosenberg is stretching things out to increase audience tension. In fact, you’re likely to feel the opposite from time to time, a desire to say, “Oh, get on with it.” But stick with it. “Jessica Jones” may only have a dark side, but that’s one reason it works well on Netflix but never would have passed muster on broadcast TV.

Making a Murderer – Netflix Series Review

TV Review: Making a Murderer

Imagine that you are accused of a crime you did not commit and spent the next 18 years behind bars, only to be released and after a couple of years of freedom, you are back in jail again for a different crime. This describes the subject, Steven Avery, in Making a Murderer.

In a gripping tale of the true crime genre, directors Laura Ricciardi and Moira Demos condense 10 years of footage into a 10 hour documentary-series, and while it might not have the flare and massive production like other Netflix shows, it manages to keep you glued to the screen, wondering how this man’s fate seems to be in jail, one way or another.

Supported by footage, newscasts, recorded phone calls and interviews, the documentary does not need a voice over to guide the story, instead all of these conversations carry the story, having a grim, small-town feel.

The jury is still out, so to speak, on whether the runaway success of the Netflix series Making a Murderer will have any effect on the convictions of Steven Avery and Brendan Dassey. But its impact is already being felt far outside the judicial system. “Crime has always been a staple of television, but I’ve never been approached more by the networks. I get phone calls: ‘I want Serial, but with X,Y, and Z.’ ‘We want the next Jinx,” says documentarian Joe Berlinger.

The fascination with true crime is nothing new, but the binge-watching (and listening) era is changing the way the stories are consumed, and how they’re made.

Tim Horsburgh, the director of communications for Chicago’s Kartemquin Films, recalls directors Laura Ricciardi and Moira Demos bringing a rough cut of Making a Murderer to the venerable documentary film institution’s filmmaker labs several years ago, back when they were trying to make it into a conventional two-hour film.

Five years ago, the options for turning a Wisconsin murder trial into a documentary series were slim, but as the content maw yawns ever wider, previously unheard-of opportunities manifest themselves — and sometimes bigger is better.

If you have listened to the first season of Serial or watched HBO’s The Jinx, then Making A Murderer will make you bang your head against the wall after seeing an innocent man spend his life in prison.

It will make you want to go and sign all petitions online that might get Steven a new trial. If you are like the majority of the people who looked up every single article related to Steven Avery online, talked to coworkers or friends endlessly about the show, then you should know that the documentary does miss out on some evidence which the directors were not able to show.

If anything, Making A Murderer does help make a case for Steven Avery to have a retrial while shedding light on the criminal justice system’s shortcomings.

This ultimately makes us wonder how to react if we were put in the same situation.

UMG Nashville review and recap of important day 3 matches

UMG Nashville was, in my books, a overall success despite some long intervals in-between matches. There seemed to be a lot of confusion about the entire pool play system, it seems that the rules involving tie breakers, should be made public so that anyone trying to follow the event can have a good idea of how everything works.

The venue that the tournament was held in was one of the most visually appealing UMG events that we have seen from the company, it attracted large crowds throughout the whole event. The UMG staff also put in the extra effort for the pro’s this time, adding a separate pro lounge for the players to relax in between matches and watch all the other matches going down at any time. The casting overall was pretty average, there were many situations where the casters would make things confusing for the spectators and sometimes came across as unprofessional. I personally like seeing the combination of the two casters Maven and Duff man, they really seemed to be a hit with the viewers and even when there was down time in between pauses due to technical difficulties they made the time fly by which was very refreshing.

The bomb glitch made another comeback in this tournament, it was as always a serious inconvenience. The glitch actually caused some teams to lose serious momentum whilst playing Search and Destroy and some pro players believe that it made them lose that map. I tried to keep record of how many times the bomb glitch occurred, I came to 18 times although this isn’t even counting the possible glitches within the open bracket.

What was interesting to me is that from the final six teams in the tournament featured six of the eight teams who earned a spot into the Season 3 Playoffs of MLG CoD League.

Now into the recap of some important games from Championship Sunday.

Faze vs Most Wanted: Champ Winners Semi-Finals

• 1st map was Octane Domination which is a preferred map for Faze. Faze lead going into the half 85-53, they went on to win the 173-119.
• 2nd map was Octane again but this time for Search and Destroy. The map was extremely close, eventually going to a round 11 Most Wanted won round 11 to win the game 6-5.
• 3rd map was Warhawk Blitz: Most Wanted went on to win the map 6-5 to go up 2-1 in the series.
• 4th map was Sovereign Domination: A very tight game ended up going to Most Wanted who closed out the game 155-153 and take the series 3-1. They moved onto the Winners Finals, Faze moves down to Losers.

Denial vs Rise Nation: Champ Winners Semi-Finals

• Strikezone Domination: Denial took this map with ease 169-136.
• Warhawk Search and Destroy: Again Denial took the map with ease winning 6-2.
• Fright Blitz: At the end of the first half the game looked close as the game was tied but again Denial came firing back to win the map and take the series with a 3-0 sweep.

Optic Gaming vs Team Kaliber: Champ Losers Round 4

• Sovereign Domination: The game went back and forth between these two powerhouse teams but Team Kaliber clutched up to win the map 158-154.
• Freight Search and Destroy: Optic came firing back with a quick 6-0 to tie the series 1-1.
• Freight Blitz: Optic came into the map with momentum and it showed as they took the map 15-12. Optic now lead the series 2-1.
• Strikezone Domination: Optic went on to take the series 3-1 in dominant fashion as they knock tK out of the tournament.

Team EnVyUs vs Faze: Champ Losers Round 5

• Freight Domination: EnvyUs took a 98-66 lead going into the second side and they managed to hold it to go up 1-0 in the series.
• Freight Search and Destroy: The game was extremely close throughout but Faze ended up taking the map in a thrilling 6-5 game to tie the series up.
• Warhawk Blitz: Both teams battled as the game was tied 4-4 going into the second side. Faze ended up taking the map 7-5 to go up in the series 2-1.
• Sovereign Domination: Faze started off incredibly strong and lead 90-46 going into the second side. EnVyUs nearly made a miracle comeback and shortened the lead to about 5 points but Faze clutched up in the last minute to win 156-136 and take the series 3-1.

Optic Gaming vs Rise Nation: Champ Losers Round 5

• Freight Domination: Optic utterly dominated the first map and easily won the game 201-121.
• Freight Search and Destroy: Optic came in with crazy momentum and went up 4-0 before Rise came back to take it to a round 11 and win the map 6-5.
• Freight Blitz: Optic again looked strong on the respawn game types and took the map easily 23-13 to take the series lead 2-1.
• Sovereign Domination: Rise took a demanding 99-60 lead going into the second side. They held on to win the game 176-133 and tie the series.
• Sovereign Search and Destroy: Again Rise looked much better on the S&D game type and ended up taking a 6-4 win the knock Optic Gaming out of the tournament.

Denial vs Most Wanted: Champ Winners Final 

• Strikezone Domination: Most Wanted held on to win 158-152.
• Freight Search and Destroy: Denial held on to win the game 6-5.
• Warhawk Blitz: Denial prevailed to win the game 7-4 and take a 2-1 series lead.
• Sovereign Domination: Denial easily won game four by a score of 185-115.

Denial vs Faze: Grand Finals First Series

• Freight Domination: Denial came out very strong and took the first map 156-148.
• Freight Search and Destroy: Denial looked in control but again the bomb glitch occurred and Faze came back swinging to win the map 6-4.
• Octane Blitz: After a close game Faze managed to clutch up in the remaining minute to secure the 10-7 win and go up 2-1.
• Sovereign Domination: Both teams looked strong going back and forth but Denial took a small lead heading into the second side. They went on to win the game 160-148 to tie the series 2-2
• Sovereign Search and Destroy: A crazy game five goes to the final intense round 11, Faze managed to take the last round and clutch the series out to win 3-2 and force a second best of five.

Denial vs Faze: Grand Finals Second Series 

• Strikezone Domination: Faze went into the the second side with a 89-63 lead. They continued to finish out the game and easily take the first map.
• Octane Search and Destroy: Denial played Octane very well and pushed up into the Faze players faces. They came out to win 6-3 and tie the series up 1-1.
• Warhawk Blitz: The first side was a strong showing for both sides but ZooMaa managed to create the chances to get sneak caps and clutched out the second side to win 10-4 and take a 2-1 series lead.
• Octane Domination: Denial started off hotter after taking a small lead heading into the second side but Faze managed to come out with a triple cap and close out the game to tie up the series 2-2.
• Warhawk Search and Destroy: Showing perfect examples of team work Faze lead early on by 4-1, they comfortably took game 5 with a 6-2 win. This has been one of the closest and intense Grand Finals within recent history.  Faze came out of UMG Nashville rightfully being crowned the new champions.