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Google Announces Shut Down Of Its Google Hire

The Google Cemetery will soon have an addition, as the search engine has disclosed that it is all set to shut down its services Google Hire which is a job application tracking system that was launched two years back. The Hire was developed with a focus to simplify the hiring process along with a workflow that integrated things like searching for applicants, providing feedback about potential hires in to Google’s G Suite and scheduling interviews.





Dude York - Falling Music Album Reviews

The Seattle pop-punk band shape-shifts through ’90s alt-rock but sacrifices its personality in the process.

At their best, Dude York sound drunk with unbridled joy. With two full-length albums, a Christmas record, and a handful of EPs, the Seattle pop-punk band has carved out a spot beside Charly Bliss and Diet Cig, indie rock bands suited for sleepover dance parties. On their third proper album, Falling, the trio loses its individuality in a wash of generic hooks and half-hearted lyrics that only recall contemporaries who did it better.

Guitarist Peter Richards and bassist Claire England split songwriting and vocal duties for the first time, sequencing the album so they take turns. On “Longest Time,” England turns in an alt-rock anthem, and Richards answers with the psychedelic power pop of “Doesn’t Matter.” Drummer Andrew Hall pulls it all together with streamlined, uptempo rhythms and quicksilver drum fills.

Over the course of 13 songs, though, Dude York wind up mimicking their idols as opposed to referencing them. “How It Goes” is decent by-the-numbers Weezer, while “Should’ve” huddles in the shadows of Dinosaur Jr.’s towering amp rig. And it’s almost surprising to learn “DGAFAF (I know what’s real)” isn’t a Bright Eyes cover. Falling shape-shifts through ’90s alt-rock, but the band sacrifices its personality in the process.

No track captures this problem like “Box.” The glossiest song on the album, it leans into the synth-pop melodrama of the Cure while Richards elongates his vowels, doing his best Robert Smith. The rhythm section is sprightly and the chorus is catchy, perhaps because it is uncannily similar to Janelle Monáe’s “Cold War.” It’s a decent dance song, and the protagonist in the song’s music video does exactly that, jumping and spinning feverishly by herself as band members occasionally join in. Eventually, it’s revealed that the woman is dancing on a stage for approval—a single person sits in the empty crowd, bored and gazing at his phone screen, while she breaks a sweat. It’s an unfortunate metaphor for a band that has lost its voice. “I wish I was someone who could stick up for themselves,” Richards sings on “:15.” It’s hard to disagree with him.

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