Monday, January 26, 2009

Geometry Wars 2 Review

When the 360 launched back in November 05, Geometry Wars: Retro Evolved quickly became THE must play game, which was an unprecedented accomplishment considering that the title was only available online. When rumors began to surface of a sequel a few years later, many gamers found themselves returning to the previous installments, from the hidden bonus games in the PGR games to the retail releases on Wii and DS to practice, but nothing could prepare anyone for the second onslaught of the stellar gameplay of Retro Evolved 2. Taking all of the other games innovations and praises and improving on them in unthinkable ways, Retro Evolved 2 is a must-play and must-own title for any 360 owner, regardless of how you feel about the twin stick shooter genre. Where many others fail, Geometry Wars has returned to show everyone why it was hailed king of the 360 launch and is still one of the most successful titles on XBLA to this day.


Gameplay - 10/10

The original Geometry Wars, a simple yet addictive game found in the car gallery of Project Gotham Racing 2 quickly became one of the biggest attractions of that title and already had a dedicated following of gamers, even though the basic gameplay was simple and the graphics reinstating that. When Retro Evolved arrived, the simple shooter received a much needed facelift, added in a bit more variety in terms of the enemies, and showed gamers how addictive it could be when you were playing to get "just a few more points to go up a few spots, and then call it a night". While it was known for it's pick up and play gameplay, people were quickly drawn in to see how far they could push their own scores while trying to gain bragging rights among their own circle of friends to reach the highest spots on the leaderboard. For it's time, the game was perfect and still holds up remarkably well to this day. When the Wii and DS versions arrived, they introduced new gameplay modes and a multiplier system that stemmed largely from collecting floating gems called "geoms", all wrapped up in a game that presented the player with multiple planets to visit, each with their own goals. Finally, taking cues from all of the former, Retro Evolved 2 arrived during the flurry of stellar arcade titles over Summer '08, removing the planet system and instead opting for several incredibly different gameplay modes that were all twists on the standard "shoot ‘em all" formula the title had become associated with. Each gameplay mode has it's own leaderboard and the first thing it shows you when you sign in and look at the list of modes is the top scores on your friends list, which is motivation in itself to try to be the best at all of them. The modes themselves range from the standard Retro Evolved mode, which consists of you playing as long as you can, surviving against a constant onslaught of enemies, a new pacifism mode, where your objective is to run for your life, passing through gates to detonate large chains of enemies in order to score more points while being unable to shoot, to waves mode, which has a number of ships that appear on screen and fly back and forth until you eliminate them, making more and more spawn in different directions, then throwing in obstacles. Any single one of these modes on it's own would have been worth the price of entry, but considering that you have all of them for the low price of the game, there's absolutely no reason not to have it in your library. It's a quick to learn game, but thanks to the additional modes, the new geoms, and a new multiplier system, there is a lot more depth than anyone could have ever anticipated and the game definitely rewards those that invest time, yet appeals to almost anyone that gives it a try.


Sound - 8/10

The theme of geometry destroying (as I like to refer to it) has returned, to mixed results. On one hand, it's one of the most infectious songs in an XBLA title, almost capturing the classic feel of the nightmare inducing Tetris theme or the Overworld theme in Super Mario Bros. 1, but it's pretty much the only song in the game. The best use of the song is during Deadline, where the further you get into your two minute run, the more the music begins to swell, almost as if the intensity of the game is determined more by the soundtrack than the players’ actual skill. After a few hours of hearing this song, either you're going to love it and find yourself humming along or quickly looking for a custom soundtrack to replace it. The sound effects are pretty much the same from the prior outings as well, which isn't necessarily a bad thing and in a title like this, you really don't want the sound to be overly complex as it would detract the players attention from the frantic on-screen action. While there are no new sound effects or songs, it's a really nice addition when you find yourself being able to recognize what enemy is about to spawn as soon as you hear certain indication, such as the ticking sound that's made before random enemies pop up in the corners to the digitized swishing sound the snakes make or the wave sound as those tinier swarms make as the continue to spawn out of the corners, telling you exactly how many are coming without you having to stare at them and take your eye off the danger in front of you. You'll also grow to love the sound of a 1up as you have billions of enemies chasing you and billions of others in front of you.

Graphics - 9/10

The first time you start to play it, you probably won't notice that the graphics are even more overhauled than in the previous outings for the series, but I can guarantee you that once you start to play this game for a while, you'll find it hard to go back to any of the others. The excessive particle effects are back and look better than ever, especially when you start going for multipliers using black holes and gates, and then watching as countless enemies all explode into a puff of geometric stardust before your eyes. The background is very minimalistic, but that's actually incredibly desirable for a twin stick shooter such as this. The colors are more vivid than ever, making the game an incredible experience to watch to player and onlookers alike. While it might not have complex water color art or detailed bump mapping, what is here is something that's very visually pleasing to look at in a simple manner that is aided by insane particle explosions of your helpless enemies.


Overall - 9/10

This is one of those must buy titles on the 360. It's not as complicated as Halo or anything, but you'll quickly find yourself playing this over other titles as you slowly start to log in, planning on playing just one game, then convincing yourself that with just one more, you'll be able to push your score up just a little bit higher to beat another one of your friends. Thanks to the multiplier mechanic and leaderboards that are present the moment you load the game, you will quickly begin to sink hours at a time into this title that you may have been planning to spend on another game instead. While you may get into a few game streaks where you're dying almost instantly, the frustration is kept to a bare minimum with how quickly you're able to restart your session in seconds without any loading whatsoever and the more you'll play, the better you'll find yourself getting and understanding the mechanics more. Considering that the last game in the series was a retail title and all of the modes present in Retro Evolved 2 (any of them easily being worth 10$), this is one of the best values you can find on XBLA and deserves a place on every gamers hard drive.

Left 4 Dead Review


Fast zombies + friends = win

Survival Horror is one of those genres that refuses to evolve. On one hand, it's mastered its art of having tense atmospheres, creepy monsters, incredible soundtracks, brilliant sound mixing, and so forth, but it's very rare that a game comes along and puts it own unique twist on the genre. The first major evolution to survival horror happened in Resident Evil 4, which focused on a more controlled experience by allowing free aiming, a user friendly camera angle, and a twist on the narrative. The recently released Dead Space offered another twist, giving the player much more control over themselves and focusing more on managing your own inventory, precision aiming, and picking how you're going to take down the incoming mutants. Between Dead Space and Left 4 Dead, 2008 was a major and much needed evolution in the genre, Left 4 Dead taking a completely different approach than anything previously seen in games (4 player co-op first person shooter against hordes of zombies), and while it may be a short experience, it's one that is radically different depending on who you're playing with and each time you go through it, making it a must buy for any fan of the first person shooters or survival horror games.

Story/Presentation - 9/10

Left 4 Dead has a unique concept. Instead of focusing on one solid narrative, you're essentially playing through four different films, each involving the same characters, but in completely different locales, with no two campaigns feeling the same. For anyone wondering if the game has a tutorial, in one sense, it doesn't. The developer instead opted to include a cinematic cutscene at the beginning, and if you watch it, you get clued in on different aspects of the game. The terror of coming across a witch in an unexpected place and how to deal with it, the panic that sets in when a large and powerful zombie knows as a tank shows up, even down to the bone chilling howl of an approaching hunter, it's all right there. If you decide not to watch this for whatever reason, between loading screens, tips are shown on the bottom of the screen, and as you come into situations (such as finding weapons, downed friends, etc), the game tells you exactly what to do in the situation. It's all incredibly well done and keeps from breaking the immersion. Each of the characters has a distinct personality, from the tough-guy Francis, grizzled war vet Bill, the tough but cute required woman Zoey, to the token black guy Louis. All of the stereotypical characters from horror movies are portrayed here without being annoying and actually helping to immerse you in the world. Occasionally, during quiet spots, you'll hear a character comment about the current situation, including your own, and all of it comes off as being incredibly well done and natural feeling. There's a bit of film grain thrown into the game for good measure to further indulge you in the movie fantasy. While the story itself isn't incredibly compelling, you do get a strong sense of motivation to push on through each area and while each campaign isn't too long (40 minutes-an hour and a half normally), they feel like they're just the right length. There are plenty of different visual and audio clues that keep you engaged and let you know what type of situation you're about to get into, from the sudden orchestral blares and the accompanying scream of zombies when a horde is about to rush you, to the red glow of a witch's eyes as you walk through that room with your flashlights off, hoping to escape without her noticing. You'll quickly find yourself completely immersed in the world of Left 4 Dead, and the only downside is that there isn't more there, however what IS present is more than enough to keep you engaged for months.


Gameplay - 10/10

It's never felt so good in a game to be completely terrified by not knowing what was going to happen next. Just when you think you have the jump on situations, the AI Director throws in something unexpected. You could be staying back and shooting at zombies in the distance when a smoker appears from the trees and pulls one of your survivors in, rendering them helpless until a teammate rushes to their aid, meanwhile a boomer sneaks up on another person and vomits on them, triggering a rush of zombies, when you finally hear that chilling scream of a hunter that you can't see since you're so occupied with everything else. Left 4 Dead does an excellent job of keeping you on your toes. It's a nice touch that the included bots are incredibly solid and never seem to do anything stupid (aside from ignoring you when you try to direct them to a molotov or pipe bomb that's out of their visual range). The controls are precise, and while many games nowadays are reliant on Ironsights, the developers behind this title understood how chaotic things can get and give you incredibly precise aim by just shooting from the hip without ever having to raise your aim. Instead of having aiming as a secondary fire function, you've got a melee attack that's used to bat away enemies, giving you a few precious moments as they stumble away in a daze to get off that needed headshot. While some would complain about how you can't do anything when three of the super infected have you in their grasp (Smoker, Hunter, and boomer, for a moment), that's part of the fun. Instead of letting you try to fight against a hunter that's pinned you to the ground, the camera is pulled back as you see it beating you fiercely, forcing you to call out for a teammate to come to your aid. If they don't make it, instead of just dying, you're gone for awhile, and then you'll randomly appear in one of several closets located around each map. It forces you to keep alert and constantly think about what you're going to be doing and what the costs could be. There are several different weapons that you'll come across, each having their own strengths and weaknesses that become more and more apparent the more you play the game. Just to give you a clue, in a 4 player game, it's incredibly useful if you all have different weapons, or at least the 3 main ones. Last, there's the multiplayer game, which allows 4 humans to play as the survivors, and the other 4 to play as super infected, choosing where to spawn and forcing them to coordinate since each one has a powerful attribute, but suffers from at least one glaring weakness. Teamwork and communication is vital to overcome a team of crafty survivors, but the game is far from unbalanced when you're playing with people you know or can at least strategize with. A nice addition is that each of the trophies is pretty fun to earn, such as hitting a hunter with a melee attack as he's preparing to pounce, to killing a witch with a single shot. While you'll be able to get some of the achievements from simply completing levels, to make the most of the game, you have to do some things that you wouldn't normally think about, but quickly becomes fun to do, such as trying to singlehandedly take down a tank. Everything feels incredibly well in the gameplay, from the execution of the concepts to the controls, even down to small details, such as the lighting effects of the flashlights to the distinct looks of the super infected in comparison to the normal ones, not to mention the loads of replayablity between the campaign and co-op modes, along with the promise of downloadable content in the future.

Sound - 10/10

You're creeping through an abandoned warehouse, looking down at your life to see how much health you have left. The rest of your team was taken down in the last major attack. In the distance, you hear a deep bellowing yell, from something incredibly large. Suddenly, you feel the earth shaking around you as a timpani drum beats. You check your ammo counter and reload your shotgun, listening for all of the shells to be inserted and that locking sound meaning you're ready to go. At this moment, you hear a human voice yelling for help somewhere behind you. Standing for a few moments, you turn on your flashlight and fire a few shots into the darkness, then turn as you hear the powerful footsteps from something unseen approaching behind you as you rush to help whoever it is that's trapped, in hopes of getting some assistance. As you reach them and hear the door click, you turn around and hear the sound of earth being ripped up behind you. Instantly, you know that it's a tank approaching you and your friend, when from out of nowhere, you hear a haunting chorus of screams, then the dramatically swelling orchestral soundtrack well up. Not only do you have a tank on your hands, but you've also got a horde of zombies approaching from somewhere, as your teammate mutters something under their breath. Moments like this are what make Left 4 Dead's audio shine. Not only does the game have very solid sound effects, from the distinctive sounds of each weapon to the positional audio setup, but the subtle, yet well laid out soundtrack works to enhance the tension. Each of the super infected has a certain song that plays, indicating when they're approaching along with their own distinctive sounds they make, from the cry of a witch to the coughing of a smoker, you'll quickly finding yourself listening for those sounds amidst the chaos of hundreds of zombies regular screams. The weapon sound effects all give you a real sense of power, and while they don't have any real brands of guns, who cares when a sniper rifle is a sniper rifle and an auto shotgun is just that? That's what it all comes down to at the end of the day, and trust me, the sounds in this game will continue to haunt you even when you're no longer playing the game. The voice work is excellent, and it's nice that they went for creating personalities for each character by giving them dialogue that fits their look instead of trying to hire some random professional actors. There's a lot of small effects present, such as the coughing from when you walk through the ashes of a recently killed smoker to the screams for help if they manage to get you in their grasp. Each character also yells out automatically when you come across an item the team may want to pick up, along with giving you details on their status "Cover me, I'm reloading!".


Graphics - 9/10

For being four year technology, it's amazing how Half Life 2's source engine is constantly being pushed beyond what we though was previously it's threshold. There are lots of excellent lighting effects, dynamic shadows, flares, animations, and other things that really help give Left 4 Dead its own identity, elevating it far beyond just looking like a Half Life 2 mod. If you check out the developers website, they also mention that there were many choices they made in the game to create a more tense, yet fair experience. Originally, the areas you were walking through were darker, relying on pure lighting to let you see what was happening, but throughout testing, they found it was a complaint that kept arising. To fix the issue, they opted to use dark colored fog, which lets you see some of what's happening in the distance while keeping you guessing as to what's lurking out their in the fog, and it's still a pretty dark game. Another change that shows the attention to detail is that, in order to enhance the feeling of each area being an abandoned and forsaken place, the world itself has a pretty downtrodden feel to it. In the No Mercy campaign, instead of just putting you in an urban environment with abandoned houses, they threw graffiti on the walls, have a lot of slick looking textures in the outside area's, giving the illusion that there was recently rain, cars placed sporadically, especially police cars and those with alarms, which helps to enhance the feeling that something is incredibly wrong with this town and you might want to take heed and follow what everyone else did: Leave while you still can. The graffiti on the walls, if you have a moment, involves more of the humor that was shown in Portal, while other things reinforce the feeling that something went horribly wrong. The models for the survivors and infected are all incredibly well done, and the rag doll physics help as well, letting you know when you pulled off a powerful shot by sending a zombie spiraling through the air or off the side of a building. There's a film grain effect applied over everything to give the illusion that it's almost like watching or living a horror movie in a first person perspective. Since you're going to be spending a lot of time looking at your gun in the game, it's nice to know that all of the weapon models are well done. The flashlight and shadows work to not only to let you see what's coming up, but almost plays a psychological game with you as you enter an area with it on and see a shadow up ahead, only to find out it was cast by a bottle.Speaking of the flashlight effects, instead of just having a flashlight attached to your eye or something, which is how most games feel, L4D attaches it to your weapon, meaning that if you're reloading, it's temporarily cast in a different direction, leaving you vulnerable to the front if any danger approaches. Whenever you die, you get to watch the chaos happening to the other players in a third person viewpoint, giving you a different view of the action and it's actually kind of fun to look at. While many of the levels involve a house or some sort of indoor environment, they did an excellent job of varying the textures and placing of items, keeping each one feeling fresh and new and really letting you kind of get a hold on where the good hiding spots are after a short while. The only downside to the graphics, which is understandable, is that if you're running this game on a pc, the framerate will drop down (it's still completely playable and not everyone is going to notice it) during some of the more chaotic scenes, such as the finale chapter of Dead Air, so just be prepared for that.


Overall - 9/10

A 9/10 for a game that's only 4 hours long?! How can that be possible?! Simple. Left 4 Dead takes that 4 hours, gives you 4 different difficulties, a compelling survivor vs infected multiplayer game, the promise of new content in the future, and an amazing AI director system that changes up the placement of things to keep everything fresh every time you play. I can promise you that you will never have the same experience twice, and it's further elevated when you're playing with friends or people that know what they're doing. It's still a blast to play with people who are either new to the genre or aren't as skilled, since the director always seems to throw out just enough craziness to test your limits, occasionally pushing you past them when you're faced with improbable odds, but it rarely feels unfair. The only times that are guaranteed to happen are the major triggers which the game alerts you of right before you activate them by telling you "press the switch and prepare for the horde!" The sound, multiplayer, graphics, controls, and everything feels well done, well implemented, and well thought out, opting for a fun gameplay experience that sticks to the quality over quantity approach. While some of you may be put off by how brief it is on your initial playthrough, you'll find yourself constantly coming back for more, and it's nice since it's the kind of game where each chapter has a definite beginning and end and it's brief enough so that if you pick it up and play for an hour or so, you actually get to feel a sense of reward at the end. Left 4 Dead is definitely a must buy title for any gamer, regardless of if you're a fan of first person shooters or not. It's almost guaranteed to have something here that you'll fall in love with and find yourself coming back for more zombie action when you least expect it. Just remember to turn off the flashlight when you hear that innocent cry. There's a reason why they call her a witch.

Everyday Shooter Review



If you're reading this, chances are that you're into arena/twin stick shooters, such as Geometry Wars, Super Stardust HD, Asteroids, and countless others. Just to simplify everything, read the following statement: Go buy this NOW! Everyday Shooter is an exceptionally well designed and innovative twin stick shooter available on both the PSN and Steam. For optimal scoring, you're probably going to want to use a controller, so make sure you've got one available with two sticks, since using the WASD and arrow keys aren't going to cut it here. While many have overlooked or just forgotten about the game, in many ways, it can be considered just as good if not better than the original Geometry Wars: Retro Evolved and Super Stardust HD. While it many not have the fancy, excessive particle effects or flashy graphics, the simplicity of visuals along with a well developed soundtrack (and some neat sound effects), and some of the most creative levels that are all different from one another make this a game that belongs on everyone's hard drive, especially for its low price.

Graphics - 9/10

Everyday Shooter was a game developed by a single person, and as a result, it was free to much more freedoms with it's artistic style. Instead of having an insane number of particles, bullets, and explosions going on, each level in ES has it's own distinct visual aesthetic, such as the etheral look of the 3rd section, the retro designed 4th stage, even to the simplistic, yet charming 2nd level. Every single one of the environments functions not only as a beauty to look at, but gives you gameplay clues. The enemy designs start off by appearing basic, but the further you go, you start to see some things that look like they were ripped straight from a dream. One of the nicest design choices is that the game doesn't give you an excessively complicated HUD. Instead, on the bottom of the screen is a long bar that slowly turns brighter, which technically tells you how long the song is, but when the song ends, so does the stage. There's also a life counter and a score present and that's about it. Since you ship is consistenly just a white triangle and there aren't any crazy particles, you'll have no problem losing yourself in the world and you'll always know exactly what it is that needs to be done and what to dodge, saving the player from a lot of frustration. The only reason I didn't give this a 10 is because I do realize that the visual style definitely isn't for everyone, but even if you don't think it looks that great, you can't deny that it's incredibly functional and easy on the eyes!



Sound - 9/10

Phenomenal. That one word could sum up everything that needs to be stated about the sound easily. Most games like this nowadays have a blazing techno soundtrack with the constant "PEWPEWPEW KAPOOSH" sound effects constantly going on, eventually causing your brain to hemmorage from how long you're guaranteed to be hearing those sounds. Jonathan Mak, creator of ES, decided that...that was stupid. Not only was he going up against blockbuster titles Super Stardust and Geometry Wars, but every time one of these games came out that wasn't that, it was immediately dismissed as just being another twin stick shooter. Instead of filling the sound effects and soundtrack with the generic stuff that you always here, he whipped out his guitar and laid down a few tracks that are completely related to gameplay. The end result is a game that's as easy on the ears as it is on the eyes, with a melodic, slighty distorted electric guitar being the background for all of the constant shooting action. It's actually incredibly relaxing to just pick a stage and relax while the music plays and you play the game at your own pace, but that doesn't do anything for that constant sound of explosions that you hear everywhere. To alleviate that issue, all of the sounds of enemies exploding are just different notes played on the guitar, indicating what type of enemy you've just taken down. While this could lead to issues with the entire headache thing, instead it's an amazingly zen-like experience, occasionally making you feel as though you're adding to the soundtrack instead of just shooting flying enemies. Another nice touch is that every song has a definite beginning and end, marked by the meter that goes across the bottom of the stage. As songs progress in intensity, you're usually confronted by swarms of enemies, and as it slowly eases back off, so do they, meaning the music in the game isn't just an afterthought and is actually vital to enjoying the game. As far as twin stick shooters go, this is easily one of the best soundtracks out there and you'll never get the feeling of wanting to turn it off since it's so peaceful.

Gameplay - 10/10

The motto for the game is "Everyday is another shooter". Most games give you a mechanic and scoring system and force you to go as long as you can. With ES, every single level lives up to that theme, each feeling like it could be fleshed out to be its own game thanks to all of them having different scoring systems to learn, new music, new enemies, and a new art style. The most compelling aspect of the gameplay is the fact that it feels unlike anything you’ve ever played before. While many titles would be perfectly fine with mimicking the gameplay of Geometry Wars or Super Stardust, Jonathan Mak really dug inside and has pushed the genre in a completely new and refreshing direction, proving that there is always more that can be done even when you think everything has been tried. As a bonus, there are a bunch of different things that you can unlock, ranging from stages to art styles that give you an extra incentive to play, not to mention there’s the entire high score that’s constantly there on each level if you’re a fan of challenging your own limits.



Overall - 9/10

Believe it or not, this was one of the main reasons I bought a PS3 and I feel that it was completely worth it. Everyday Shooter was one of the first games that proved that the psn was more than capable of pumping out high quality, fully realized titles for a low price, and not to mention that this is an indie developer and not some gigantic corporation. ES deserves a place on everyone’s hard drive. While it’s easy to look at it and brush it off as another twin stick shooter, there’s so much more present than that and thanks to the creative levels, each one feels like it’s own self contained game. The soundtrack helps to further immerse yourself, and if you find yourself growing tired of the regular game options, there are always those challenges that you can do in order to unlock different levels and miscellaneous effects that alter the experience. It’s also not that much, meaning that if you’re on a budget and looking for something to play, this is highly recommended.

Friday, January 16, 2009

Behemoth - Demigod Review, by Rugter

Ahhh, Behemoth… The band that got me into death metal alongside with Dark Tranquillity. The difference is, this one is brutal as hell (I mean it). Nergal’s vocal delivery sounds like an army of demons, and that can already give you an idea of the kind of music they play. The riffs are intense, the drumming is too damn good (Inferno is one of the best drummers ever, in my opinion), the bass doesn’t stand out that much but it’s still great. With that, it's quite clear that their style isn't for the weak. Demigod is heavier than any of their other albums before, and it's quite possibly the peak of blackened death metal. Behemoth have kept a high standard of quality since Satanica, but this album blows every of their other attempts far away.

But all that aside, let's get into the review.

From the moment the opener Sculpting The Throne Ov Seth starts, you'll notice they mean business: Opening with a great classic guitar intro, and then all hell breaks loose when the distortion enters. First the heavy guitar riff, then the drums enter full force and the bass seems M.I.A., not unlike the rest of the album. And then comes Nergal with some really insane vocal performance. Because of the many layers of vocals, it's really hard to understand what he is saying, yet it also accomplishes what it wishes: The many vocal layers make Nergal sound like a true devil. The song doesn't lose speed at any point, it is always at full force, specially the drumming. The solo is also quite great. This song definitely sums up the album as a whole.
The next track, Demigod is yet another highlight. Opening with some horns that sound like a calling to arms, you know already what to expect. After that intro, the distortion enters and the total chaos starts. The riffs in this song are quite amazing, both guitars are used perfectly for an awesome effect. Another relentless song this is. There's also a little "HAIL. SATAN." thrown in by 2:57. And the heaviness doesn't stop with the next track. Conquer All, one of the singles of this album, is not as good as the first two tracks, yet it packs a punch. The riffs are awesome, some great changes in pace too. The chorus of this song is definitely cool, fast and powerful. The solo in this song is one of Nergal's best, even though one would like it to be a bit longer. The outro is another great point in this song, it's quite memorable. [/b]The Nephilm Rising[/b] is another aggressive song, if you didn't already know. A bit slower than the last 3, but that doesn't mean much. There's also something similar to a radio talk in some parts of the song. And for a few seconds, Nergal uses non-layered vocals. Still sounds really evil. Another great solo. Some classic guitar thrown in at the end, and it sounds macabre. That makes it yet another solid song. 
Towards Babylon is another good song, but it might as well be the weakest of the album. The riffs aren't as memorable as the other songs, and the solo isn't as good as the last 2 songs. Fast and evil, but doesn't match the quality imposed by the first 4 tracks. Still, it is a really good song.
You though it was evil and psychotic sounding up to now? The most evil song in the whole album, Before The Æons Came has a cool evil intro, and then it gets to Nergal's most pissed off, downright evil performance. The riffs backing him up are fast and fit well with the anger in his vocals. This song is meant to be played at hell's lobby, that's for sure. The low point is that it is the shortest song of the album, but hey, I don't know if such an angry song could be able to last longer or if the listener wouldn't go crazy.
Mysterium Coniunctionis (Hermanubis) keeps the heaviness going, and you can say the album shows no signs of stopping. Creepy effect at the begging takes form and goes all heavy. The riffs are amazing as always, but another notable thing in this song is that Nergal's voice goes more black metal-ish than the rest. I personally didn't like it much, but it was still a very good song.
Xul is another heavy song, yet again with a kinda creepy intro, and pummeling into submission after that. Nothing really special in this song asides from the intro, it's just heavy as heck. The solos are cool, to say at the least, specially the one at the beginning. A good song, but nothing really special.
Of course, the heaviness would follow, and it does show in Slaves Shall Serve, a really fast track. Nergal opens screaming something extremely hard to understand (even by the standards of this album), and then the insanity begins. The drumming stands out here: Simply put, it's insane. Inferno shows his skills as a drummer here. The rest of the band aren't slouches either: They keep up with the pace of the drums perfectly. The song end with Nergal screaming "Slaves shall serve!" many times before finally snapping and screaming with all his strenght "SLAVES. SHALL. ****ING SERVE!!!". Another standout song.
After that craziness, you wouldn't expect a mid-paced song. Precisely what you get. The Reign ov Shemu-Hor opens with a kinda slow intro, sounds like something that would fit with an enormous evil army taking over some place or something. A little acoustic passage and Nergal enters. The song is slow compared to the rest, yet it sounds heavier. This 8:26 beast could be a hard listen at first, yet it's worth it. The solos throughout are masterful. By 7:50 it starts getting slower, the instruments start fading and the song finishes with a ringing note. And so, one of the heaviest albums of later years comes to an end. And what an end it is. After this, if you're not used to the heaviness, you will.

And so my review comes to an end. I hope you enjoyed it reading it as much as I enjoyed writing it. If you think you're hardcore and can stand heavy music, or just like some real heavy ****, then give this a shot, you will possibly enjoy it.

Song ratings:
Sculpting The Throne Ov Seth: 5/5
Demigod: 5/5
Conquer All: 4.5/5
The Nephilm Rising: 5/5
Towards Babylon: 3.5/5
Before The Æons Came: 4/5
Mysterium Coniunctionis (Hermanubis): 3.75/5
Xul: 3/5
Slaves Shall Serve: 5/5
The Reign Ov Shemu-Hor: 4.5/5

Thursday, January 15, 2009

A.V. Club interview with FotC


by Sam Adams January 13, 2009

When Flight Of The Conchords debuted on HBO in 2007, the musical sitcom about a pair of unknown New Zealanders struggling for success felt as if it might be based, however faintly, in real life. But a Grammy, two Emmy nominations, and a platinum record later, Bret McKenzie and Jemaine Clement are hardly unknowns. Their sleepy deadpan delivery and scruffy charisma have made them low-key heartthrobs, and their low-tech music videos are tailor-made for the YouTube era. The show's second season, which premières Jan. 18, finds their fictional selves as downtrodden as ever, penning jingles for a women-only toothpaste and being neglected by their manager, Murray (Rhys Darby), who's preoccupied with million-selling novelty act Crazy Dogggz. During a break from filming in a Brooklyn warehouse, McKenzie and Clement sat down at Murray's desk with The A.V. Club, which resisted the urge to call the roll.

The A.V. Club: I remember seeing the first episode and thinking, "Wow, this is really funny. I'm glad they got a full season, because that's obviously going to be all there is." The next thing I know, you guys are selling out 3,000-seat theaters.

Bret McKenzie: It could have slipped by. There are a lot of good shows that don't get picked up. Like that Ben Stiller pilot, Heat Vision And Jack? That would have been a great show, but somehow it slipped by.

Jemaine Clement: That's even weirder than our show, really.

AVC: You'd already done a version of the show for BBC Radio, so you hit the ground running. Even the pilot is fully formed, in terms of visual sensibility and the characters' identities. Were there things you wanted to do differently in the second season?

JC: I think we made the same mistakes again.

BM: I think we learnt, but we probably didn't—

JC: Apply our learning.

BM: Apply our lessons, yeah. One thing we did learn was that the transition to song is a really crucial moment in the musical format. It's easier if the song somehow slips into the scene, rather than a hard cut to a music video. So we kind of played around with different ways of transitioning from the real world of the show into the surreal world of the music videos.

AVC: The first season is almost an encyclopedia of the New York alternative-comedy scene, with Kristen Schaal and Eugene Mirman in recurring roles, and guest appearances by Todd Barry and Demetri Martin. Was there a thought that that might be a good way to get the show to an American audience?

BM: No.

JC: It can go a long time with just New Zealanders, but we try to make sure there's American characters in it. I'm always aware when we're looking through the script that in the first few scenes, there should be an American character.

BM: We didn't cast them to try and break into a market or anything. We cast them mainly 'cause we knew them. And we didn't want to have people that were well-known.

JC: It really is like, "Who do we know?" Todd, Demetri, Arj [Barker], and Eugene are all the Americans we knew.

AVC: Every comedian who's ever opened a rock show, basically.

BM: Yeah, that's true, it's the same circuit. John Hodgman is another one. This season, we ran out of people we knew.

To read the rest of the interview, than please go here: A.V. Club interview with FotC

Thursday, January 8, 2009