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It was two decades ago to the day—March 24, 2001—that Mac OS X first became available to users the world over. We're not always big on empty sentimentality here at Ars, but the milestone seemed worthy of a quick note.
Of course, Mac OS X (or macOS 10 as it was later known) didn't quite survive to its 20th birthday; last year's macOS Big Sur update brought the version number up to 11, ending the reign of X.But despite its double life on x86 and ARM processors and its increasingly close ties to iOS and iPadOS, today's macOS is still very much a direct descendant of that original Mac OS X release. Mac OS X, in turn, evolved in part from Steve Jobs' NeXT operating system—which had recently been acquired by Apple—and its launch was the harbinger of the second Jobs era at Apple.
Cheetah, Mac OS X's initial release, was pretty buggy. But it introduced a number of things that are still present in the operating system today. Those included the dock, which—despite some refinements and added features—is still fundamentally the same now as it ever was, as well as the modern version of Finder. And while macOS has seen a number of UI and design tweaks that have changed over time, the footprints of Cheetah's much-hyped Aqua interface can still be found all over Big Sur.
AdvertisementOS X brought many new features and technologies we now take for granted, too. For example, it enabled Apple's laptops to wake up from sleep immediately, and it introduced dynamic memory management, among other things.
Mac OS X's greatest impact in retrospect may be in the role it had in inspiring and propping up iOS, which has far surpassed macOS as Apple's most widely used operating system. And indeed, macOS lives in a very different context today than it did in 2001. It was recently bumped from the No.2 operating system spot globally by Google's Chrome OS, ending a very long run for Mac OS as the world's second-most popular desktop operating system in terms of units shipped.
The most popular desktop operating system in 2021 is Windows, just as it was in 2001, but the most popular OS overall is Google's Android, which has dramatically larger market share in the mobile space than iOS does.Dead-feather Mac Os Download
So while Mac OS X's influence is profound, it exists today primarily as a support for iOS, which is also itself not the most popular OS in its category. Despite Apple's resounding success in the second Steve Jobs era, as well as in the recent Tim Cook era, the Mac is still a relatively niche platform—beloved by some, but skipped by much of the mainstream.
After 20 years, a lot has changed, but a whole lot has stayed the same.
Dead-feather Mac Os Catalina
Sometimes a record takes a while to grow on you. Sometimes it takes a few listens to really get what a band is going for, or what makes them different from dozens of other bands. On the other hand, sometimes you press play and the band’s selling point imprints itself on your eardrums almost immediately. Dead Feathers sound like a better Dead Meadow fronted by Florence Welch (as in, the one with The Machine), and I don’t make that comparison lightly. Their selling point is that singer Marissa Allen is really good. You’ll notice this within a minute of putting any of their music on. Not that there’s been much of this to date: they have an EP out, but after nearly a decade All Is Lost is Dead Feathers‘ first full length.
All that practice paid off. Dead Feathers‘ upbeat psychedelic rock is polished and consistent, with Allen’s fantastic voice as centerpiece. The obvious comparison is classic psych singers like Grace Slick of Jefferson Airplane. Opening track “At the Edge” is a great showcase. At the start, her voice is warm and almost fragile against a rolling drumbeat and shimmering guitars. As the song progresses the intensity picks up, with voice picking up a slight noise filter as it gets louder, leading the instruments until finally the distorted guitar kicks in. (This is also a great example of how to do an intro as an actual song.) At full power on tracks like “Cordova” and “Horse and Sands,” she reminds me of Elin Larsson of the Blues Pills. Tracks like “Smoking Gun” show her at her versatile best, with all the above plus husky jazz vocals and more. Technically she’s also extremely good, with neat vibrato and pitch-perfect challenging vocal runs, such as on “With Me.”
This definitely isn’t a vocal solo project, with an instrumental section right out of the modern psych playbook, driven by their warm, fuzz-drenched guitar tone. Dead Meadow is the closest comparison in style, but Dead Feathers have better riffs. The guitars churn out catchy, wandering melodies from the Esben and the Witch-esque atmospheric picked cleans on “At the Edge” to the fuzzy end of Wolfmother‘s work on “All Is Lost.” At the heavier end of the spectrum, “Horse and Sands” deploys terrific driving riffs that recall Kyuss. Drums and bass are no slouches either, with jammy grooves on tracks like “Cordova” and “With Me.” None of this is exactly groundbreaking, though, and Allen’s rich vocals are the highlight.
Every song on the first half of the album is excellent, with the heavier “Horse and Sands” perhaps the best. This does mean that the second half isn’t quite as good, but that’s largely a pacing decision. The songs here are less immediate, slower, and more exploratory. None of these are bad things, it’s just such a noticeable transition from the relentless first half that it feels like a let down. On the plus side, the production does the album a great service, giving everything a wonderful warm, rich tone which really enhances the fuzzy psychedelic feel. The DR9 master lets the loud passages thunder and the vocals soar.
There are definitely some things to nitpick on All Is Lost. A little reshuffling might have smoothed out the A-side/B-side feel. Dead Feathers are certainly not going to win any prizes for originality playing a fifty-year-old genre this straight, albeit with better production than the genre’s heyday, and I’d like to see them step outside their comfort zone a bit more on the next record. There’s plenty to explore even within the loose confines of psychedelic rock, demonstrated by the proggier style of bands like Black Mountain. But there’s no major weak points here, and ultimately, with songs this polished and a singer this good, it’s hard to care about nitpicking.
Rating: 3.5/5.0
DR: 9 Format Reviewed: 160 kbps mp3
Label: Ripple Music
Websites: deadfeathersmusic.bandcamp.com facebook.com/deadfeathersmusic
Releases Worldwide: August 23rd, 2019