It's links to all of my Live For Films stuff, or reviews by GC. Some videos of ET,that are for Mum and him more than anyone.
But something is urging me to write again.
Kill Zone 3.
I love(d) Black Ops more than anyone. Being pretty good at it helped, but I love(d) the game so much. I love(d) turning on my PS3 and seeing that my mates (read: Ledgers) were on it.
Now, with the new maps due on Wednesday/Thursday/Whenever/Meh, I'm not sure I am even going to get them.
The deal was, get the new maps, then trade it in in a month when I get my Bonus/3D TV.
Things changed.
I read reviews.
I played the demo.
So I got it yesterday, and more importantly, have this (below) on it's way. That means I'll be able to play the game via the gun, (the second controller is on the handle - see?)
That, plus the 3D TV, means Black Ops is destined to gather dust.
I won't trade it in yet, as I probably will get the maps, plus it's 3D enabled, so I'm intrigued to see if that extends its life.
Kill Zone 3, though?
Special.
It's an adult shooter. You can change the controls to "COD" controls, but it's far more complex than COD. At one point you may hold L2 to "cover", L1 to zoom, plus R2 to throw a grenade. It's almost combo like. And it makes Black Ops loos really arcadey, and child like by comparison.
The running mode too sticks it's middle finger up at Black Ops. It's immense. Immersive, as the screen judders. Need ammo/grenades? Then, in first person, you'll lean into the ammo case and refill. Leaving you open to a melee. And when I say melee I don't mean a desperate lunge ala Black Ops... I mean a slit throat. Maybe even a gouge of the eyes. This is pure Verhoevan, and it works brilliantly.
Climb a ladder? Again, expect judder. This is all about making you feel like you are the person controlling your character. It's really made me assess whether Black Ops ever gave you that, or COD in general. Need to give your team mate a boost up? Again, first person, including a swivel of the camera as you reach out your arm Cliffhanger style to pull them up.
Don't even get me started on the "slide". Running? Need cover? In the words of Tyler Durden... sliiiddddddeeeeee.
Multi player is immense too. Hard as nails. A ranking system with points/credits similar to COD.
Plus levels that look like they are straight out of Avatar or Private Ryan. It. Looks. Stunning.
And I haven't even mentioned the level that is played entirely on a slant as all of the buildings are crumbling away.
Or that a player on the other team could be posing as a member of your team, and you only know when it's too late... or piss your team off by shooting them. Just. In. Case. It creates a sense of drama, and paranoia. Adult stuff.
Once in a while I stumble upon albums like this one. Albums that mean so much to me, that nearly got missed altogether. It's in my Top Ten... maybe....
Turin Brakes are two guys and two guitars. Modern folk apparently, whatever that is. What The Optimist LP is is something else entirely. It's a collection of some of the most well spun songs I know. The words are like honey, slowly dripping on a hot summers day. The guitars are a joy. As delicate, graceful and poignant as anything in my collection.
It's an album that doesn't connect to any relationship other than the one I have with myself which in itself is pretty unusual. I think I probably got it around 2002 a few months after release and I can remember listening to it loads in the car. Volume on 'excessive', as per usual, on hot summer days to and from work.
It begins with Feeling Oblivion, which opens with a few notes on a piano before the simple tune actually starts. The words are all over the place, but sit with in the song perfectly. That last chorus preceded by the haunting, 'So don't leave me here on my own.'
Underdog (Save Me) is about running away from everything. It nearly inspired me to get off my arse and go see the world again. There's a 'great little' guitar solo in it too.
The album is full of 'great little' songs, all warm and lush but my favourite comes towards the end. Mind Over Money has one of the best 'join in and burst your lungs' choruses I know. It's sort of anthem like without actually being an anthem.
That's alright I warned myself,
Keep blood on the inside and nowhere else
An album for warm summer nights for sure. Beach parties? Yes. But there's so much depth there within the light. There's a bleakness that sort of sat nicely with turning thirty soon after the turn of century (2003 fact fans), it is the sound of age catching up with me. Over ten years later and I still love the album. It can still make me smile and it still feels like a well kept secret. Which sometimes still feels like it means something.
The vocals throughout take you away to somewhere else and although sometimes slightly awkward and not compromised to fit the tunes, the harmonies are quietly pretty as each song places you in a different part of your world. I can imagine sitting and listening to it with someone pretty (maybe I have on occasion) but equally it works as dark room and headphones album. Just be careful with the singing along when you try that... sorry neighbours, I really should have closed the window.
Do you not have The Optimist LP by Turin Brakes? No? Fool.
WTF is that? I'll tell you what it is. That is "Enemy Mine" about to disappear off the Live For Films' "Recent Features And Reviews" page.
I should be sad, but the next pic means I'm not.
That is all of my Reviews for LFF so far*. It's meant undoubtably my own Blog has slowed down, but I'm fine with that.
I remember the day that "Enemy Mine" review went up. I was out with my fellow Ledgers. If they had said then, 39 would follow, I would have roundhouse kicked them, Roadhouse style.
Amen to that.
* In fact, it's not even all of them. They wouldn't fit in one screen grab!
No. I have no idea if they knew if the recording was out of focus.
Who cares. I'm well behind on My Top 100 songs of all time, and not only is this in there, but Maximo Park may have more songs than anyone in it, when I'm through.
I was on the cusp of separation when Is This It by the Strokes came out in 2001 but I fell for it after.
It's still one of my favourite albums ever. The perfect blend of laid back slackers, talent and hipster cool, an album was just too good to be ignored. They didn't really live up to the hype post Is This It but the debut still lives up to all that attention that was thrown at it.
It screams of New York, of drugs chic and waif thin model girlfriends. The cover deserves to be borderline iconic alone but it's what's contained within that made everyone swoon. Every track is special. No filler just great tunes.
There's a wonderful simplicity to the album, in the playing and production. It all sounds like it was recorded in one hit which was exactly what The Strokes wanted, a back to basics approach that felt incredibly refreshing at the time.
Julian Casablanca's lyrics and voice are what all the songs hang off. It's a voice that can hardly be described as glorious but it fits with the music wonderfully well. The sound of a few too many cigarettes as he struggles to hit a high note and falls into a croak quite brilliantly captured. The words within the songs paint a picture of living in New York on the cusp of breaking through, urban cool as relationships start and then fizzle out.
See, alone we stand, together we fall apart - Someday
Everyone fell for Last Night. It's the one that rang out at Indie Disco across the land for about five years and probably still does (I got too old for that shit). It's still a great tune though, but there's others on the album that are easily it's equal. Hard to Explain, which follows it, it just, well, fuck awesome. It even has that little moment of silent perfection.
It was the sound of New York just prior to September the 11th. The sound of dirty bohemians making great music while they smoked weed and hung out with pretty girls.
Sometimes music is just all about how it makes you feel. Classical music lovers will get that. Emotion and passion dripping from something that contains no words. This album is like that but different.
I first heard Explosions in the Sky four years ago, recommended by a friend at work who'd stuck this album (How Strange, Innocence) on the department iPods and I was immediately hooked. Their debut from 2000 is one of the most beautiful albums I own. Electric guitar, bass and drums but no words. At all. It's an instrumental rock album that works on so many levels.
At times it's incredibly mournful, quiet and pretty. At others it's uplifting and joyful. And there's noise too. Loads of it.
The four piece create something that you can live in over the seven tracks. With headphones on, lights off, it's a magical listen. Never pretentious, never forced, just slow and deliberate in its simplicity and all of its interwoven complexity.
The surprise for me was not missing lyrics at all in a rock album. There are moments when the guitars do enough of the speaking for you. Glittering Blackness, just past half way through, has some wonderfully timed moments as the song breaks from a wall of sound into a gentle refrain. You get utterly lost in where the songs go as they spiral and spin into different directions, the band clearly embracing the lack of words as a chance to push off in other directions mid track without deviating from a songs purpose.
So how does it make me feel? I discovered them at a rough time and there's some of that emotion residing in there when I listen to it now. But that's the beauty of it, because you're not being forced to accept that the songs actually about anything they take on new meanings each time you listen. And tonight as I type I guess what I get is hope. And that's a good thing.
Explosions in the Sky aren't a one off, but their beautiful delivery make them a very special band and there are another four albums since this one to immerse yourself in. Lovely.