Belgium serves as a hotspot for metalcore ever since the 1990s. While not as popular as other international scenes influenced by Scandinavia, the Slayer/Cro-Mags-infused "H8000" style ('H' standing for hateful, '8000' referring to the West Flanders post area in Belgium) was a different beast. After some touring and an EP on Thirty Days of Night Records, offspring band Oathbreaker expands with a full release on Deathwish Inc. titled "Maelstrom" (stylized as "Mælstrøm") While it sounds absolutely destructive with fast riffs infused with doom on the side, there is the notion of its unfortunate problems that luckily doesn't detract too much.
The word maelstrom is defined as a very powerful whirlpool and throughout the years has been exaggerated to give it a very destructive meaning. The bulk of Oathbreaker's latest piece puts that sense into the sound excellently. Opener 'Origin' presents itself with strong d-beat drumming, Converge-esque guitar attacks, and in your face vocals from female frontlady Caro. It also foreshadows that the future songs will be as, if not more devastating. Even if Kurt Ballou is a hit or miss on mixing, he deserves credit making the feel right in Maelstrom.
Ballou's mixing is best characterized in both parts of 'Sink Into Sin' (part 2 features Amenra vocalist Colin Eeckhout). He is able to keep it very heavy even if it's fast or slow and filled with well structured guitar layering.
Towards the end is where Maelstrom's weakness is exposed. After 20 minutes or so of consistent intensity, it seems to abruptly stop with the lacking "Glimpse of the Sun." If condensed and rewritten, it might have been a good listen. Following is the album-titled song that while is a good acoustic (with clean vocals) conclusion, it doesn't feel complimentary to the previous composition.
Fortunately, most of Maelstrom's songs are absolutely catchy and well-executed that you will probably listen to more in the future than the snag that exists on the record. If Oathbreaker can improve with a more intense and consistent followup, which Maelstrom somewhat signifies, they have a bright future ahead of them in the world of metal and hardcore music.
These two northern California bands share a lot of similarities. Interesting to note that these bands are friends to one another and a member from each group contributed in the others' latest releases. Both Ceremony and Trash Talk in their previous works combined a very fast and straightforward style very reminiscent of Infest and other groups distinctive to some modern hardcore punk today. The latest releases from both bands signifies a departure from that approach. Yet different, their favor of finding a new noise still binds their musical relationship.
From the two, Ceremony takes a huge left turn in "Rohnert Park." There is a profound difference in comparison to their earlier recordings "Violence, Violence" and "Still Nothing Moves You." From hyperspeed anger to now nostalgic homage of more classic hardcore groups from the 1980s. The stylistic changes help create catchiness and variation. While some sound like a punk in the default sense, the others including 'The Doldums (Friendly City)' feel like something out of a new wave band. Beginning song 'Sick' pays respect (and jokingly disrespects) to those bands while the constant punk beat goes on and vocalist Ross Farrar goes misanthrophic about Barrack Obama, the GOP, atheists, buddhists, and other annoyances.
Lyrically, the content is strong detailing things Farrar's stints in Main County Detention Facility in Sonoma County, California ('MCDF'), his near death experience seconds after his birth ('Back In '84'), and the dullness of growing up in the city of Rohnert Park ('The Doldrums [Friendly City]'). The clarity of his storytelling always felt enjoyable and immersive while digesting. Sure it's not exactly distinctive to other suburban kid angst content but it's all about the details.
Hours east is Sacramento where Trash Talk formed and vocalist Lee Spielman still resides. His approach in "Eyes & Nines" is more centered towards many different (and sometimes abstract) themes as opposed to personal pieces. It can range from smoking pot on Wednesday ('Hash Wednesday') to pyromania ('Explode). Lyrics in Trash Talk though is not their strongest suit but rather their assaulting manner of the vocals and instruments mixing.
It's different from their earlier releases yet have a similar feeling. Trash Talk tries out a Discharge-like d-beat approach and hell it's successful. Sans the super doomy Hash Wednesday, Eyes & Nines lasts only 12 minutes long thanks to the constantly fast and seamless transitioning of songs. The bludgeoning strikes in 'I Do' immediately continues in 'Trudge' and does the same in 'On A Fix' and the titled and ultimate track. Especially at the second half of the album, it's energy-inducing and doesn't take breaks; Trash Talk still knows how to make swift and memorable strikes.
It has been more than a decade since the release of The Dillinger Escape Plan’s acclaimed 1999 progressive metalcore debut “Calculating Infinity.” The group continues with their latest release doing what they do best: providing catchy unpredictable aural assaults while trying to experiment with new sounds and styles.
The first track “Farewell, Mona Lisa” foreshadows what’s to become of the band’s longest album to date. The first part features their signature burst of chaos exemplified by guitarist Ben Weinman and newly recruited drummer Billy Rymer.
Almost two minutes in, the song displays an ebb and flow effect where vocalist Greg Puicato shines in his dynamic vocal range following a tremendous band-central climax.
Although not as apparent, it’s great to hear that their characteristic hypersonic and discordant style is not forgotten in this record. “Good Neighbor” features many dissonant yet enticing guitar runs by Weinman while Rymer can hit multiple time signatures without error. It has a lot of energy which when translated live, can entice large scale moshes.
The instrumental capabilities of Weinman and Rymer are best heard in “Endless Endings.” The majority of the track sounded like a much harder version of experimental jazz band Naked City. Weinman’s fast solos and chords sound like an altered interpretation of many different cultures of music and Rymer does his best to the point that it’s reminiscent of former DEP drummer Chris Pennie.
Some select songs from previous albums “Miss Machine” and “Ire Works” featured DEP experimenting with a pop music approach in mind, much different from their heavier pieces. “Option Paralysis” takes what made those songs great and adds a fitting metal edge, which makes the overall sound more cohesive.
“Gold Teeth On A Bum” best displays their new approach. Taking notes from former collaborator Faith No More’s Mike Patton, Puicato uses various vocal styles throughout.
From whispering, to screeching and then to singing, Puicato knows which style is perfect for each section. The band aids him resulting in a more tenacious unit instead of one particular member standing out.
“Widower” is another great example of the band’s experimentation in the album. Enrolling pianist Mike Garson, the song evolves from being very isolating and later on deconstructing.
Although being the longest album compared to the others for the band with only three songs falling below three minutes, there are still intense songs that justify its length.
“Room Full Of Eyes” still sounds like DEP but halfway in is a very pummeling doom dirge where everybody can headbang to.
Each album sounds like a logical progression in which “Option Paralysis” follows what made best with their previous work. With four albums and multiple member changes, The Dillinger Escape Plan excels at what they do and always tries to tread new ground, while not compromising who they are.
Although with the recent midst of Call of Duty: Modern Warfare 2 dominating the first person shooter market, Battlefield developers DICE was working on the sequel to their 2007 console breakout Battlefield: Bad Company. Containing memorable characters, a unique style while pertaining to the series ethic of large scale vehicular combat, and fun multiplayer, a sequel should be anticipated. Now released it's indeed a hell of a good time.
Following a quick and surprising prologue, the player controls again soldier Preston Marlowe fighting with a rag-tag squad formerly of an Army's B-company (nicknamed Bad Company) After going rogue and escaping with mercenary gold from the previous Bad Company, it's implied that they eventually got caught. Impressed by the squad's activities, the military assigns them to a special operation involving a Russian terrorist and a mysterious weapon of catastrophic proportions. In return for succeeding, the squad is able to retire from service.
The first Bad Company had a comedic feel and seemed to have been influenced by the war film Three Kings. Bad Company 2 takes a more conventional action movie route removing some of the little nuances that charmed the original including the in-game radio (surf music during battle is awesome). The interaction between the squad is still retained yet much applied in a more subtle fashion than in the previous game. It's hilarious to hear conversations about Harrison Ford, the pronounciation of 50 Cent, and what would be the best mixed martial arts nickname for squad leader Sgt. Redford. It's up to committing some downtime to hear their comrade because of the game's much more confined level structure.
Unlike the first game's single player, Bad Company 2 removes most of the large scale semi-linear formula and takes a 180 degree turn. The choice results in a double-edge sword effect where although it goes outside Battlefield's tradition of big free-form action, the pacing is well timed and the action is much more fun. The completion time with the changes applied is shorter than the original Bad Company but the memorable moments throughout many beautiful environments kept me going back.
Some moments outside the gunplay and just seeing the mountain ranges, it almost looks photo realistic. Much detail has been taken care of for the updated Frostbite Engine with effects that I would have never thought would work on consoles. DICE did an excellent job in making a great looking game while running at an always constant 30 frames per second and allowing anybody destroy the world to their whim.
Just like the first Bad Company, the sequel makes use of destructive environments once again and increases by two-folds. Not only the walls can be destroyed, now with enough explosives, buildings can collapse killing anybody inside which is a great alternative for one of the multiplayer modes.
Without the gold, the Rush gametype follows the same format with some fixes including the defending team able to recompose and prepare for an attacking base. A smaller variant called Squad Rush is intense and requires everyone to work together on four on four combat. Versions of maps accommodate the mode as opposed to being tacked in. The conquest gametype originally absent at the first game's launch is here and does it job just fine. The last surprising mode is Squad Deathmatch where four squads of four members attack one another for the highest kills. That mode is great for a quick pick up and play without committing too much time.
With four classes specializing in different ways of playing, there is thought in picking one for a particular situation. Medics can heal and revive teammates while providing suppressing fire. Assaults use high powered rifles and grenade launchers to destroy enemy cover. Engineers are able to fix vehicles as well as destroy with rocket launchers. Recon units can snipe enemies from afar and infiltrate bases with spotting tools. The classes are simplified and much more accessible from the previous game.
Vehicles like in multiplayer as well as single player are threatening. Along with the usual tanks and helicopters, newly added is a small unmanned aerial vehicle which can provide missile support and suppression fire by means of a machine gun from above. For an attacking team, it's a godsend while the defensive side can feel overwhelmed if not destroyed.
The multiplayer grabs some elements experimented with downloadable Battlefield 1943 including squad member spawining which helps in very tight situations. It helps improve the communication and cooperation factor of Battlefield which is the key to success as opposed to running and gunning.
There is also unlocks that seem to be grabbed from Modern Warfare 2 but with a twist. Each experience gained in a class is added to getting a class-based upgrade including kits and weapons. Included are all kit perks and weapons for which someone who would like to go all out with a Thompson submachine gun while looking like a recon class is great.
Even with an emphasis in multiplayer (the box art says "Defining Online Warfare") and a single player that is lacking in length, the overall package in Bad Company 2 is excellent. It's a great alternative for people who want to try other high profile shooters in the market now besides Modern Warfare 2. There is enough variety and charm which will keep me going back for more building destruction online or offline.
Similar to the Xbox Live's Summer of Arcade program where a block of high profile Xbox Live Arcade games are released next to each other, the Spring season of 2010 has the Block Party containing such pieces as Perfect Dark and the tower-defense style game Toy Soldiers. Despite not being a fan of that genre, I gave Toy Soldiers a chance and in return was a really fun hybrid game.
Set in a World War I themed diorama containing toy soldiers and vehicles inside a bedroom, the single player campaign follows the British army defending against the attacking German forces. It plays out as more of a tower defense game where units can be built to prevent a set number or a boss entering and destroying the base (aka the toy box).
With the construction of defending machine guns, howitzers, and gas units, the said units along with tanks and helicopters can be fully controlled to help turn the tide in battle. That said, it comes with a price as it can increase the odds of loosing (especially during boss fights) if not treated with moderation; and it plays very well with that mentality.
The artificial intelligence and the order of attacking Germans were intimidating which forced me to make quick decisions of either constructing a particular unit or controlling an existing one. The boss fights not being dynamic in actions provide a sense of struggle because one bad move can ruin the match. If the boss destroyed, I felt relieved as well as invigorated of how I completed something that looked impossible.
Multiplayer follows the same basic fashion but give the possibility of attacking a base. With two players max on splitscreen and Xbox Live, both players have to defend and create attack plans which can be stressful but really fun.
Although being figurines, all of the working units look like a shrunken version of their real counterparts. With that and how the camera uses a macro-like focus, it reminded me of when I played small figurines when I was younger but much more visceral (although cartoon-like). To compliment the classic visual style is a snappy classic-style soundtrack which made me feel very dandy if I lost my base.
This is the closest game to commanding an army without feeling like some disembodied higher being. The charm it carries greatly benefit the overall experience. Coming from a very small studio, I am impressed at what Signal Studios done and is looking forward to the game's downloadable content and any future products.
To reasonably respect the fast pace nature of Loose Screws from Perth, Australia's violence group let's do this:
A fast fucking intense piece of adrenaline assault of extreme music that improves upon their infectious Sick. With some pieces lasting up to 2 minutes, all of the songs don't compromise ferocity. Catchy and more addicting than Sick. It's like falling off a skyscraper; just like the album artwork presents.
If Napalm Death's Barney Greenway intimidating guest vocal on the appropriately titled "Grind To A Halt" doesn't attract you, the repetitive nature of "Faulty Wiring" will be stuck in your head.
It was a bit questionable of what Blacklisted done on the much experimental No One Deserves To Be Here More Than Me. No problem for me to like new distances and although I did like the album, there seemed to be an annoying vibe of that it sounds more of a solo album by singer George Hirsch than an actual Blacklisted album. Shortly after the record's stealthy release onto Deathwish Inc., a companion EP recently came about which in result makes question its purpose and makes me appreciate No One even more.
With only four songs, Eccentrichine features two new songs recorded from the No One session. That album lasted less than 30 minutes and the revealed pieces are conventional song length? "Stones Throw" could have been added no problem because it sounds like a song from the album while the title track could have been hidden or Japan only. The title track strays away to what we expect from them and goes all alternative rock. It does fall though into good concept/bad execution though; it fits here on an EP that's weak.
The other two songs fall under the same issue where the more electric "The P.I.G." is very exciting while an acoustic version of "Wish" lacks any energy. With only standing half way, Eccentrichine more of an optional piece for non-hardcore fans of Blacklisted.
Being the lone wolves of hardcore can be a challenging case for Blacklisted. The struggle to defy the common usage is constant and if followed, the band would have to put steps ahead of the derivatives to stand out while still trying to sound excellent. Once trying to make a name for themselves with their Cro-Mags influenced mosh fests like ...The Beat Goes On (2005) and later initiating a lonely strike of individuality on Heavier Than Heaven, Lonelier Than God (2008) which garnered acclaim throughout the extreme music industry, a year later as a very stealthy release where only the people who care will know a new album rose and would try to expand their repertoire. Notice I said try.
No One Deserves To Be Here More Than Me follows Blacklisted into experimental territory where like Heavier Than Heaven, this differentiates itself from its predecessor. But for this case, the changes seem odd. If you enjoyed the the quick minute bursts in the previous album, it's nonexistent here. It's not fucking angry anymore. You have George instead of just doing scary shouts, he does the Southern-esque howling experimented on the Peace On Earth, War On Stage (2007) and Heavier Than Heaven but to a fuller extent (aka 100% of the record). It shows George's capabilities as a vocalist when he tells his stories of loneliness and trust. When you listen to the music though, some of the songs including "The Problem Is G.(eorge)" and "I'm Trying To Disappear" feel like they should have been suited for a solo album instead of a Blacklisted album.
As I said, Blacklisted dwells forward into experimental territory. The songs are slower and more thought out to create some separation from other groups. By listening, there is a sense of more metallic influences present (especially some prog sounds) while sticking to its hardcore and experimental sensibilities. It makes up something solid yet doesn't have that pure lygreat energy that I loved in their 2008 masterpiece. It's a really good grower.
I never knew that the down under was really down under. When the country of Australia who recently released a censored version of Left 4 Dead 2 with all the visceral visual elements mostly nonexistant, you would think they would be all goody two shoes on trying to censor more things like death metal. Luckily it hasn't happened and might never at all. It's appreciative that there are bands oceans apart from their big continent counterparts who love the craft. Portal being the most common recently with just providing a sound that feels like the fantasy iteration of Satan arrived on Earth and is fucking dirty and sludgy.
In a simplistic sense, it's death metal. Beyond the understanding of what they are trying to show the listener of what they want to do, it's what they actually do in Swarth which is the most intriguing. Someone who even just listens to Cannibal Corpse at the least will think of this as noise due to it's almost early Bolt Thrower sound that seems to be intentionally clouded to the max. If you listen to a minute of a song through a computer speaker and hate it, then there is a problem. Just get a good set of headphones and try to pay attention to how it's structured and the unity of the group's playstyle. It becomes easier at that point.
There is no clarity but there is subtlty to the songs. Guitars buzz with no signs of compression but excells in creating many fast and heavy grooves that can make the legends jealous. It feels like a constant wall of noise to where only the people who want to digest will appreciate it. The rhythm of both guitarists and the bassist's styles have no bounds and will devise any type of weird yet cool riff to create pure cacaphony. This is complimented by the drums which further make the evil sound more terryfying. Blast beats galore on the title track but it's unpredictable to which type of move will Ignis Fatuus will do next. The vocal delivery by The Curator completes the haunting circle with distanced growl of words that only himself can make sense of.
To be honest, this is my first record from Portal and was more or less a forced listen. It started to be an annoyance but would later become very likeable within more replays. I tried to describe as best as I could but the issue that there is so much content that it challenges the listener's orthodox approach to listening where it's about experiencing it than reading a review like this. It's a very difficult record to decipher yet if you want to dwell into a territory like this, Swarth is the excellent package. Portal solved the problem of that you don't need avant-garde sounding electronics or orchertra to create an apocalypse or Silent Hill.
West or East, there are prominent bands within those scenes; hardcore, metal, whatever. But the central zones are of lesser prominence. But within this decade, bands like Colorado's Cephalic Carnage and Cobalt have created sounds that are characteristic from their seabourne conterparts. Another one from Salt Lake City, Utah has some popularity especially in playing at every Dudefest. Gaza brings influences from everywhere and create cacaphonous chaos brought about by their debut I Don't Care Where I Go When I Die. Now coming back with their sophomore, it's been anticipated (especially at the Deibel magazine forums) that He Is Never Coming Back would surpass the Coalesce death metal infused barrage of noise from their first.
The common trait of Gaza is inconsistency, putting whatever into the plate while still trying to make something enjoyable. This album brings forward some of the opposite and making an their established sound streamlined. "The Kicking Legs" has beats of progressive metal, sludge, and grindcore; the whole song though feels like it has structure of what it's trying to be. There is no obvious blatant "we wanna sound like that at this part" section as this second outing is more subtle in presentation. The full songs are supported by cleaner progressive interludes that help give breathing room for the listener who might have been blown by the insanity and the rants about Jesus.
The song dynamics and the craziness that fills the record is assisted by a unique simple production style. Like When I Die, Never Coming Back tries to defy modern extreme music production by making it feel flat yet gritty and dirty. This though follows the format to a larger extent but lacking any punch or clarity for this case can make the listener sleepy instead of engaged. But acknowledging that it's meant to be this sort of fashion, you can actually get used to it like no problem as it's all about the songs.
It's a possible annoyance that a new listener can have the feeling that it's enhanced white noise. This is their own set of chaos with what they want to perform, not what what others bands or people expect. We cannot never try to taint their objective or else we will destroy the individuality of what Gaza is trying to deliver.
Two of the three words mentioned are one of the most said phrases in what is considered the most anticipated game of 2009 and probably in video gaming history so far; beating Halo 3 and Grand Theft Auto IV. Call of Duty: Modern Warfare 2 is the forth child by veterans of the modern first person shooter genre known as Infinity Ward. Originally following in the footsteps of Medal of Honor and the intensity of World War II, the new world decades away from the great war is specialized by the folks at IW. Unlike the historically written cases where events were already written, the Modern Warfare series gives the developers in making a more free form interpretation of what our future may be later on especially with countries like the United States of America in conflict within the Middle Eastern zone. Along with an interesting narrative in relation to our current situation outside our homes, the first game excelled in expanding the single player and multiplayer experience by making very fluid and engaging moments of action that is still rivaled by other shooters. When a sequel comes, everyone who has been a fan of Infinity Ward's work and/or the Call of Duty series expects a step up. Just like Call of Duty 4: Modern Warfare before it with going into new territory, Modern Warfare 2 does the same and then some.
Taking place five years after the original Modern Warfare, Ultranationalist member and terrorist Imran Zakhaev is still dead but yet his spirit hasn't been forgotten when Russia ultimately becomes controlled by the said political party with Zakhaev being recognized as a hero and martyr. Peace exists on both sides of the Earth but one man who was a major associate of Zakhaev named Vladimir Makarov wants to end it by any means. It's then up to the multinational counter-terrorism unit Task Force 141 led by Call of Duty 4 protagonist Captain "Soap" MacTavish to stop Makarov from creating any catastrophe.
In Call of Duty tradition, the player follows multiple protagonists with Task Force 141 operative Sergeant Gary "Roach" Sanderson being the most prominent. Roach will assist Captain MacTavish to such missions including retrieving a lost module in an airbase located in the Russian mountains and saving hostages in an oil rig. Aside from 141's activities, the perspectives of both the character and the environment changes where the action hits home with such characters like Private Ramirez and the United States Army Rangers defending Washington D.C. from invaders.
The plot discusses issue of terrorism may not be destroyed by a gun shot to a leader's head which explains Makarov's intent of revenge. By playing through, it's a bit vague of what he is going after but his introduction in Modern Warfare 2 especially in the controversial airport massacre level, it's good indication that he is someone that should be despised. It also deals with the theme of escalation where it becomes very prominent by the second act. With that being dealt with, it's doesn't try to go very subtle on events as it tries to shock you every couple of missions. The game provides little to no breathing room. Sometimes it's excessive but for something that has a strong Jerry Bruckheimer vibe (as opposed to the more realistic narrative of Call of Duty 4), it's acceptable.
Being a Call of Duty game, it follows the tried and true format just like usual. In cases where successors sticks to its guns, it can feel feel boring but for Modern Warfare 2, it's constantly exciting. The content is dense when shooting at the enemies with from a moving helicopter or clearing a room full of baddies and even civilians. You will witness tanks assaulting hostile houses while your squad moves up and takes down the enemy. When an area of enemies is defeated, you know they are defeated as this sequel lacks one of the most common issues in single player; which is the infinite waves. When playing, the game can trick the player that there is no end to enemies but in execution, it is very likely a large force. It doesn't force the player to move up and find a checkpoint to end the battle but encourages to eliminate the opposing force with excellence
The lack there-of makes the very challenging veteran difficulty less annoying and more enjoyable; while nonetheless very challenging. The battlefield and the AI seem to be one with each other as they know how to flank and take the upper hand instead of just being cheap sharpshooters. The design is still linear while having open room for both sides to take part and conquer. Still being stuck into two weapons only with grenades, the player can use new gadgets to get the upper hand including the addictive UAV Predator missile which can exterminate numerous foes at once without consuming too much ammo.
Task Force 141 infiltrating
Similar to the first Modern Warfare, the sequel contains specific varied sequences where you might have to defend a building from an invading force or stealth-fully get from point A to point B. It also includes controllable vehicle scenes which includes Roach and Soap having to escape by means of snowmobiles. The sequences and how the enemies currently act keeps the pacing going at a constant rate. When comparing to the lengths of both Modern Warfare games, the second one goes on faster yet can be finished about the same time as the original. Never a bad thing though because it's short and sweet.
Though great and all, I can safely say that Modern Warfare 2 bears so much similarities to its predecessor. There is no actual blatant improvement as opposed to the changes from Call of Duty to Call of Duty 2 to Modern Warfare. But when the campaign being much larger in context, it's very minor.
One of the biggest reasons that the first Modern Warfare became really popular was its multiplayer which contained very fun playlists as well as a role playing game like leveling system where people are rewarded with weapons and perks that can change the tide of a match by doing special tasks and challenges; and as well as kill people. It gave people an initiative to keep on playing especially when taking part in the Prestige Mode where they build up their rank all over again and again and again. That never went away in Modern Warfare 2. The framework is still the same with such popular modes such as team deathmatch and headquarters with its regular and hardcore settings (although old-school is gone). New modes include a third person perspective creating a new and interesting way to play the game; it feels very odd to view your player model yet feels fluid and and reactive during action.
Most of the new maps feels varied and exciting to play through. Some range from the symmetrical (Highrise) and the very condensed (Scrapyard, Rust). Old favorite from both Call of Duty and Call of Duty 2, Brecourt (now titled Wasteland) has returned with a new face lift. Some of these maps fit for specific playlists where Rust is great for small term deathmatch while Terminal is euphoric for domination.
The leveling and rewards system has improved with subtle changes. No more always unfair active perks such as juggernaut and martyrdom, people must die constantly in order to get some of these boosters. With kill streaks, there are now death streaks which can help get a player who might be trailing to get back into the game. It can help new users to get comfortable with the already ready and hardened multiplayer community. The kill streak system has improved with providing more types of rewards including a supply drop that can contain ammo or a random kill streak or even commandeering a gunship for the player to take down enemies right from above. Another interesting kill streak reward is the tactical nuke which destroys everybody and ends the game with the winning team containing the person who used the reward. But at 25 kills, it will be very rare for anybody to witness it. That leads to the initiative for the player to wisely pick which streak will fit for their playstyle as the limit is to three.
Besides destroying the opposition itself, people can destroy the opposition's rewards. Similar to shooting rockets at the chopper in the first Modern Warfare, people can now destroy the opponents' gunships, planes, and even the UAV recon plane disabling any chance of the enemy to find you. In order for everyone to have a equal chance, they make the rewards penetrable to destroy. It causes the rocket launcher to be a necessary weapon as opposed to originally being a perk. The explosive launchers as well as machine pistols and shotguns are moved to the secondary weapon side while the usual rifles and machine guns are still primary. A new weapon in both single player and multiplayer called the riot shield provides a new way of how to play the game where the shield-man is creating a defensive line for people behind him. Being indestructible, it can benefit objective based games where teamwork is necessary.
Some new identity based additions also exist in multiplayer with now titles and emblems that can help characterize any player.
The snowmobile getaway
The newest mode to Modern Warfare 2 is the cooperative capable Special Ops mode which was influenced by the bonus Mile High Club from the original Modern Warfare. It's simply a challenge mode with different types of objective for the player(s) to complete. The mode uses assets from the main campaign and as well as the first Modern Warfare. It can be played alone or with a friend through split-screen or online. The differences with playing alone and with a buddy is key with some missions where communication is golden. Some of these include a mission influenced by the ghille suit mission in Call of Duty 4 where the goal is to get from point A to point B. The environment though is very dense with heavy foliage causing enemies including camouflaged ghillied enemies to blend in completely. Having a friend for a case like that can really help find the snipers. It's an exciting mode with so much tension and fun that it can encourage players to play it again and probably at a harder setting.
Despite being a sequel on the same generation of consoles as Call of Duty 4, it looks fantastic from the dark and torn Washington D.C. to the faces of character like Soap and ally Ghost. Running at 60 frames per second, it can add so much visual fidelity while still being consistently smooth. You will be amazed and speechless to what you will see. The sound is a big improvement as well with such things as the believable ambient-scapes and battle chatter from your teammates. The game recruits popular talent including sci-fi hero Lance Henricksen and video game voice veteran Keith David as prominent characters throughout the campaign. The voice of Soap (played by Kevin McKidd) is probably the strongest video game performance this year after never hearing a word from him while playing Call of Duty 4.
There were controversies before the launch of the game but it doesn't stop Modern Warfare 2 from being absolutely fantastic. There are some problems that plague the game but it's very little as opposed to the seemingly larger than life campaign, the fun Special Ops, and the still addicting multiplayer. Infinity Ward always knows how to make an exceptional product since day one and this game doesn't end the mark.
During the last years of World War II, the United States Army and the German Third Reich fought against each other in the cold woods of Bastogne, Belgium. It was a breaking point as it shown the last stand for the German army before their downfall months just after with their moustached chancellor commiting suicide in the country capital of Berlin. Besides Belgium holding what would become an important event in the European theater, the country contains a hardcore band that brings in the chaos to the rest of their world thanks to Jacob Bannon's Deathwish Inc. label. Rise & Fall's Our Circle Is Vicious has been in development for more than a year after their touring in 2008. Being in isolation in their rehersal house in the forest of Chimay to their full production in Kurt Ballou's Godcity Studio at Boston, Massachusettes, it would seem that they are trying to make it awesome as they can. Well it is so.
If you keep on hearing about Rise & Fall but never had the chance to listen to their previous work including Into Oblivion (2007), this new outing is the one you will hear. Being still based on their hardcore roots, they know how to execute their attack throughout no matter the tempo and the approach. Starting from chord strikes and chorus hooks on "Soul Slayer" and the almost chase scene like "Built On Graves" with higher string presence, it goes gutter sludgy with "Harm's Way" and "In Circles." The breakdown elements in the slower songs that help change tempo in the faster songs compliment the dynamics and the varied approaches Rise & Fall go. With the quick bursts on energy it's needed.
You deserve to listen to this because these cats are what will bring modern hardcore forward while still looking back at what made them build the beast. It will grow and grow.
8/10
Our Circle Is Vicious is available now on Deathwish Inc.!
Being active since the 1990s but gaining prominence not just from the hardcore scenes but the metal scenes all around the world during the new millennium with 2001's mathcore monster Jane Doe, Converge knows what they want in a new record and we all love it every time. The only thing we can do about it when we wait is just never expect anything and enjoy everything during initial listen. It's been the case when Converge signed on to Epitaph Records where mostly constructed of punk. With You Fail Me (2004) and No Heroes (2006), they treaded different grounds with left turns including the AmRep/NeurIsis induced You Fail Me title track and the doom and thrashtastic "To The Lions" from No Heroes.
Seven albums later and almost two decades long of intensity and traveling the world, Converge has something new out for us to drool over. A recent case just weeks before the release (or the full stream at the band's own MySpace) the review watermarked copy of Axe To Fall was leaked onto the internet for a lot of people to keelhaul over. Even if downloaded by the masses, Converge finally made something that not only make the owning of the album well worth it but made the most engaging record I have heard this year.
Official music video, probably NSFW
I can safely say that if you have listened to past Converge albums, you can say it's an amalgamation of them and then some. Combining the technicality and unpredictability of Jane Doe, the ferocity of You Fail Me, and the extreme metal tendencies of No Heroes (along with nuances of 1998's When Forever Come Crashing), they wisely balanced their use of what they have learned in the past to make an effective product while still following their of tradition of following experimental paths. Odd that some of these songs sound similar to songs on their previous two albums. The benefit of this is that these songs feel more developed than their older pieces. It includes the out-slayered Slayer-esque "Cutter" ("Vengeance","No Heroes" and "Black Cloud"), the grooved up "Slave Driver" ("Lonewolves"), and the fast "Losing Battle" ("Heartless").
Besides some great familiarities, the album continues to take different directions outside the main sound spectrum. If you have listened to the stronger bands on singer Jacob Bannon's Deathwish Inc. label, you can hear some pure influences of Disfear and label alumni Trap Them on "Wishing Well;" death' n' roll more bastardized. Apparently enough the differed songs consists of the more slower tempoed epic tracks than usual to balance out the overall heaviness to create a more varied and open album. "Cruel Bloom" brings a folkpocalypse sound with seemingly distanced brooding/depressing piano and acoustic guitar while providing an almost ethreal like feeling with the guest vocals including Neurosis' Steve Von Till. The finale "Wretched World" tries to set the listener on a ethreal (it even sound like a credits song to an epic RPG that was cut for not being overcompressed J-Pop or some obvious reason) journey of layers upon layers of drums, vocals, and guitar helped by members of Genghis Tron, The Red Chord, and Cave In.
The most intriguing thing about Axe To Fall is the high amount of guests that contributed to the album. They range from just doing backing vocals for one line (Himsa's John Pettibone on "Cutter") to almost full contribution to writing the song (ex. 3/4 of Cave In on "Effigy"). Besides people of metal/hardcore bands such as Tim Cohen of 108 and Blacklisted's George Hirsch, Converge brings in members of indie rock groups including Grizzly Bear's Chris Taylor and lone female anagramed musician "The Rodeo" which even if unexpected is exciting that Converge will try someone else that doesn't shout for once.
With each Converge album, production gets better and better. Maybe No Heroes is a bit less just with the weird inaudibility of guitars and bass in places but it's good that Converge learned their lesson with this new outing. Being produced, engineered, and mixed by guitarist Kurt Ballou at his own studio, he makes the album powerful and as well as dirty. Guitars are now audible with cutting riffs and shiny leads, bass can give hope to conventional metal production that the instrument still matters and the drums have a very loud scooped feel while steps back in terms of giving the other instruments a chance. Vocals are just harsh as usual with Jacob's incomprehensible barks of destruction which says to any new listener that it's not about trying to understand what he is saying but to understand the feeling of his performance. Mastered by Alan Douches give a good amount of loudness to the intense album but at occasion passes the distortion mark which makes me question his skills.
Although with a minor fault, it's very small when compared to the larger than life sound that fills this album. I can say indeed that Converge's Axe To Fall is one of the albums to listen to of 2009. Fun for everybody because it's plain awesome. Don't waste your time downloading it from a blogspot, go freaking buy it!
The Georgian sludge metal scene has gained some prominence within extreme metal. Built up from the NOLA (New Orleans, Louisiana) influences of Eyehategod, England's doomy Black Sabbath and even New York's Swans, the Georgian scene has turned into a characteristic entity while still praising the evil yet Southern rock grooves. Throughout the second half of the decade, there were lauded releases from bands like Atlanta's Withered (Foile Circulare, 2008), Savannah's Kylesa (Static Tensions, 2009), and most notably Atlanta's Mastodon (Crack the Skye, 2009). It's though not all perfect in the world of downtuned drugged bastard music. Some including me thought Mastodon's over-ambition for an almost pure progressive sound has caused them to stray away from their roots too obviously (which I felt made the record good yet very underwhelming). Is it because of their rise to major labels (Relapse Records to Reprise Records) to appeal to less metal nurtured audiences or just want to separate from being pidgeonholed in a scene? Who knows?
One band who recently had some press in magazines such as Spin and most commonly being the cover story on US extreme metal mag Decibel (November 2009) is Savannah's Baroness. Rising to prominence with their First (2004) and Second (2005) EPs and as well as a split album with Unpersons (2007) and being praised with the debut LP Red Album (2007). Their mix of progressive rock and sludge metal can make a first time listener question Mastodon clone but by multiple listens of their previous work and their latest LP Blue Record, Baroness makes excellent strides in creating what they are.
Jake Leg
With a gaze of the beautiful cover art by guitarist/vocalist John Dyer Baizley, you can expect a great and wondrous journey. Starting from the beginning of "Bullhead's Psalm" to the end of "Bullhead's Lament," they deliver their A game to the best of their ability with every song. For fans of the group, Blue can be considered simply a very well refined Red Album; although not a reiteration of their 2007 debut. The most obvious difference from the previous work is how Baroness keeps momentum on making hook after hook after hook throughout the 45 minutes without droning out on being boring. They provide a sound that can be appreciated to a larger audience but they do it so well and effectively that the "sold out" issue is nonexistent.
Guitarist/vocalist Pete Adams replaced former guitarist Brian Bickle a couple of months back and I questioned if Baroness can still do it without it's former lead guitarist. By listen of Blue Album, I had my question answered with a yes. Pete contributes so much harmony vocals especially in "The Sweetest Curse" and the folk acoustic "Steel That Sleeps The Eye" where it's better to have both John and Pete sing/shout at the same time instead of just having one doing the responsibilities. Besides his voice, he can make very good clashes with John on twin leads with very noticeable support by bassist Summer Welch and drummer of Brian Bickle, Allen. When the album is best as is when all the elements are crunched up into one five or so minute song. The spectacular results are well established in the "The Birthing"-esque "Jake Leg" and the mid-paced galloping rhythms of "A Horse Name Golgotha."
A Horse Called Golgotha
Even with an outro, the penultimate song (The Gnashing) truly ends the album with great build up to the climax with elegant melodies, rhythm shifts, and well thought out patterns. Everything felt engaging and well made and nothing felt like filler. Is it best metal album ever? Probably not but I can say Baroness' Blue Record is one of the best metal (if not general) records of 2009.
Aside from the very metallic hardcore tendencies, Converge's Nate Newton has a primary side project when Converge is not playing a show. Doomriders contains the bassman on guitars as well as Cave In drummer J.R. Connors playing very fun and catchy death 'n' roll and punk influenced stoner rock ever since their 2005 debut Black Thunder on Jacob Bannon's Deathwish Inc. Four years later with occasional live performances and splits with Coliseum and Swedish d-beat kings Disfear, Nate and the riders finally have time to record new attractive material before their holds on their main bands and their own new pieces.
Darkness Come Alive in terms of how it's recorded differs from Black Thunder as the latter was recorded live with all instruments present and playing simultaneously while Darkness followed conventional tracking. Although it feels like the fun and jam factor disappeared, it resulted with songs having more detail and attention resulting with a good amount of focus. The first half of the seventeen songs have good hooks especially in the harmony chorus in "Come Alive" but the second half is where the riders step up in their riffing game. "Jealous God" stays doomed up yet has a melody that can encourage the crowd to flood the group sing along and "Mercy" as well as "Bloodsucker" adds the Black Flag esque hardcore element to the stoner fuzzed grooves. Thank goodness those grooves are audible as I thank Kurt Ballou for having clarity and dynamics instead of density and intensity.
Good thing Nate actually pursued Doomriders as he deserves some prominence when doing his work on Converge and even in Old Man Gloom. Show your glory!
It's intriguing to listen to bands that I never heard before especially with cool sounding names (except for badly vaguely named metalcore bands). The_Network has a cool sounding and looking name albeit they are a metalcore band. Good thing that they sound pretty good for following a Botch/Converge attack with a essence of individuality. Already established in Blackmarket Activities with 2007's This Is Your Pig's Portrait and the split EP with UK band Throats, the_Network comes back with a Kurt Ballou production of a conce... excuse me a narrative journey.
Starring a man on a destructive path from his manipulative lead of an evangelical church to his goal for self realization and redemption, t_N provides an facsinating lyrical story where it flows through with anger and rage from vocalist Mike McGee. He does what he has to do while knows he cannot flood the rest of the sounds surrounding the album. Following the aformentioned influences, t_N takes some left turns with influences of post-hardcore and post-metal; most notably evident on "Corpse Paint" where it contains an Isis like buildup and goes to a almost poppy melodic like chorus to immediate doomy verses. Most of the time, it's constant math influenced chaos. To differentiate from their older peers, very metal riffing is added to the hardcore sensibilities in songs like "Easter Just Stopped Showing" where it almost sounds like a death metal song with the notion of how deathcore should sound like instead of what Suicide Silence deafens.
They do what they want to do and it seems to be working. Is it sophomore album of the year? Hell no! It doesn't break any modern mold in the musically department yet it's awesome though to listen to something imaginative lyrically such as Bishop Kent Manning. In the name of Jesus and Satan, do listen!
One of the intriguing things about uncomfortable music is that it can get the listener (if open-minded) to get sucked in and try to digest the universe that is composed in a song. Can range from just simplistic ambient noise to the recent soothing yet cacophonous hits of Tilt and The Drift by Scott Walker. People who doesn't listen to extreme music would commonly call the the various genres in the umbrella term as unpleasant; likely because the closest thing that they would consider extreme would be something out of Disturbed. More known in Europe, the amalgamation of the sounds are presented in such bands like The Axis Of Perdition and recently Gnaw Their Tongues with its latest full length monster of a machine.
Consisting of Dutch lone wolf Mories who takes extreme to another level with his arsenal of everything hard and destructive, he wants the listener to visualize the enviroments and what can create the dynamic wall of noise. "Broken Fingers Point Up In Vain" imagines a doomy symphonic end of the world scenario where everything built by man is collapsing down to the ground. The first song when popping the disc in creates a strong and hollow Silent Hill like mood if the very bloody and dreary environments filled with surrounding industrial scream existed. Although some spoken word it doesn't have lyrics but for this case, it's beneficial as it's about listening to every little detail from the agonizing cries to the subtle drum patterns.
If there is a flaw then it has to be the songs simply put. Dread is great and terrifying, it wants to be really cacophonous albeit it's so likeable that it drains the "I am fucking freaking out and going fucking insane" scary factor. It's more like being the cameraman to a well thought out horror movie as opposed to waking up in what could be hell on earth (minus the Cyberdemon). Also the song names sounding cool also feels silly and vague ("Gazing At Me Through The Tears Of Urine, WTF?!). Nonetheless if you wanna love shitting bricks on music, All The Dread Magnificence Of Perversity is still extreme beyond extreme and evil beyond evil.
Once low key yet strong fanbase in the Eastern hardcore scene but recently had wider appreciation with Relapse Records' Scott Hull modern powerviolence/grind collection known as This Comp. Kills Facists, Weekend Nachos I hope is enjoying the larger reception. Even with finishing songs for the compilation, it didn't stop their 2009 Spazz-y attack as they begun making a "full length" of traditional yet still intense grind and powerviolence known as Unforgivable.
As I said, this album is traditional filling up the usual guidelines influenced by the early U.S. grind bands both musically and artistically. So expect a grotesque black & white Vietnam photo to start off. When initially listening to it you can expect the fast, slow, and blast tempos to fill up almost every song when the creamy smooth guitars and bass flow with the still goofy vocals. Every other band does the same thing but why should you or me care about this band Besides powerviolence being less common than grindcore obviously, they have some chops to deliver excting stuff which is highlighted in standouts like "Pain Over Acceptance" and the 2 minute epic "Nights".
Nothing special or bad, the Nachos made a nonetheless enjoyable Relapse debut album which by small doses can be kept in grind enthusiasts' LP player, CD player, or iPod. Give it a go you might like it.
Hardcore punk is fast and devastating just like all extreme genres but instead of having dominant thrash riffs or super progressive double bass drum patterns, it's all about a purely unified attack of d-beats, heavily distorted chords, and in your face shouts where it can match with the most kvlt of music. Sacramento's Trash Talk has been a down-low band while being infamous for aggressive hardcore/powerviolence/grind releaseswith drugged up terror of sludge lasting less than an full EPs worth (S/T only last less than 15 minutes). Releasing a single song into the public is a bit expected but the extremeties present in East of Eden's "East Of Eden/Son Of A Bitch" is well worth listening because it feels sort of reminiscent of the first two releases Walking Disease and Plagues while having the DIY cloudy tones of the S/T; think of Napalm Death's Scum but slightly refined yet still fucking dirty. Blast beats, doom sounds, and traditional necessities feel cohesive and powerful even if it lasts 2 minutes.
First person shooters are of what the first decade of gaming in the 21st century is about since its baby steps since the 1980s but during that time, gaming was still in its baby steps. Unable to process such modern graphical enhancements such as motion blur, specular highlighing, and megatexturing, game systems stuck with mostly flat 2 dimensional planes where it was left to right; from point A to point B. Games using this basic format of progression including Castlevania: Symphony Of The Night (Sony PlayStation, 1997) and Metroid series including the acclaimed Super Metroid (Super Nintendo Entertainment System, 1994) took the linear gameplay of past games and made the whole game open ended for gamers to find new content including weapon upgrades and hidden rooms anytime. Now we go to 2009 where that influence is brought into effect in the Xbox Live Arcade exclusive Shadow Complex. Only for 1200 Microsoft Points and the last game of the Arcade's Summer Of Arcade program filled with addicting gameplay that defies the interpretation of what Xbox Live Arcade is and what can it really be in the future.
Taking place within Orson Scott Card's 2006 best seller Empire to tie into the sequel Hidden Empire (2009), it starts off in Washington D.C. with a military officer failing to attempting to save the Vice President with a powersuit built by the main antagonistic terrorist group the Restoration. Then the player follows an everyman named Jason Fleming who agrees to hike with his new girlfriend Claire in the Washington state forest but later encounters her captured by the Restoration and their plans to attack major cities including San Francisco. Jason finds himself into a conflict he never wanted to be part of and is made to save Claire and stop the Restoration's plans once and for starting with only a flashlight and a backpack.
It's simply put as girl gets captured, the protagonist must get by any means to save her. By no means it's original but it's entertaining to see how it goes to save her. There is some backstory elements within the cutscenes and in game respectively that help Jason's character progression and give cohesion to people who lack knowledge of what Empire was about. The plot overall is more on the side and although in this day and age of gaming it's a disadvantage, it's also a benefit because the game's intention is to get the user to digest the story by personal choice and really try to engage in the gameplay in which Shadow Complex is all about.
Following in the spirits of the aforementioned Super Metroid and Castlevania: Symphony Of The Night and as well as some other adventure games such as Out Of This World (PC, 1991), it's all about exploration where the player can find new weapons, power-ups, and upgrades that can help destroy enemies easier, unlock new rooms, and find more of the 110 items throughout the game's large and detailed map. Some of these areas can only though be accessed through particular weapons including missiles and the extremely useful foam gun which can also freeze enemies in their position and can lead to explosive ends. Although linear in some senses especially trying to completely beat game the players can backtrack to any area of the complex and can search for any missing upgrades by using new gear and the bonuses in leveling up can extend the gamers' imagination in finding ways around and to even finding exploits. The first playthrough can encourage a scouring of every little duct or cave for the 100% completion achievement but it's all about playing it again to play with different variables. This is where the achievement system comes in where Shadow Complex features some by doing a specific action multiple times including kicking small robots named bombas and getting multiple headshots; but those can't compare to the non-pointed master challenges where it's a test to hardcore gamers to do such things as completing the game at 100% under three hours on Insane difficulty to finding the hilarious secret ending.
The campaign can last up to 6-10 hours within the first playthrough but as you get familiar with the complex it will be an easier time the second, third, and such times to a possible 30 minutes or less as some have found a way.
Besides the main campaign, there is also the Proving Grounds game mode where it helps new users to getting familiar and to master weapons and upgrades and test them with twenty-one different trials separated by seven trials in three packs with each getting difficult. It's addicting to get the platinum medals and to get high scores on the leaderboards even if trial and error can be very apparent in this mode. Practice makes perfect.
Running under Unreal Engine 3, Chair Entertainment provided an excellent job in making a detailed game for release on Xbox Live Arcade. From the natural woods to the artificial yet clean underground hallways, Chair made an interesting complex with variation all around as opposed to being constantly industrialized gray. Character models mostly looks attractive and detailed although not including Claire in some cases where she looks like a different person in every cutscene she is in; it might be the lighting or the angle of the shot but it feels so awkward looking at her after her first appearance. Supported with well-executed voice acting from everyone to the loud weapon sounds, the presentation is excellent especially in the Arcade field.
IGN Original Trailer of Shadow Complex
Playing in a 2D space, Shadow Complex mainly plays in the format where most enemies are in the foreground with some exceptions of where enemies for example enemies from the background and enter the fight. The player can get Jason to shoot them with the background auto aim feature using the right analog stick; it works but when trying to get a precise shot or at least getting a hit it's a challenge upon itself especially when the target is lethal.
You will start off with only a flashlight and will shortly get weapons to fight against strong enemies ranging from infantry soldiers to mechanized bipedal tanks in which some though can be easily defeated with reading hint pop-ups revealing their weak spot. If possible, you can eliminate them with instant kill close quarter combat but it can be deadly up close to especially at harder difficulties. Even on normal difficulty, the enemies can kill you within a few seconds if you don't find cover or kill them fast enough. Taking cover is one part of what makes Shadow Complex tactical as opposed to other side-scrollers. You can aim for headshots or if possible kill with obstacles including bombas, electical cables, or flaming vents. When you do kill people especially larger enemies, there is a sense of relief and the the urge to kill more especially with them having entertaining rag-doll death animations.
Even with a game like this, there are had to be issues. Running on Unreal Engine 3 there are some short comings including the common late texture loading and the motion blur in some cases can be distracting and makes the screen look unclear. There are some texture errors especially at the ending with 100% completion in which Jason has white hair with purple highlights as opposed to the regular black. Enemies sometimes don't see my presence unless I am very close to them or just fire a bullet in their general direction. Occassional rag-doll/environment collision glitching as well but that and the others are too minor when compare to the game's large amount of high priority advantages.
I will go off and say that Shadow Complex is an heir to its influences and brings new forms of gameplay to a new gaming audiences. Despite it's little shortcomings, Shadow Complex is a watershed and a forerunner for possible major projects to be made in Xbox Live Arcade. From the guys who made a very casual underwater game named Undertow (2007) to something big and amazing like this sold in a format mostly selling seemingly smaller formatted games, Chair Entertainment made the best Xbox Live Arcade game.
