Stray From The Path - Rising Sun

> CORE ALBUM OF THE WEEK, 08/11/11

Stray From The Path are back with Rising Sun, and it's more or less exactly the same as last time. If you were a fan of their previous album Make Your Own History, chances are that this release will have you getting down in the pit just as hard. If you haven't heard their last album... then really I would give this one a pass for now.

Fact is, in comparison to the plethora of modern metalcore, this release from SFTP sounds quite primitive and simplistic - basically endless, dissonant chuggy, breakdowns and anthematic tough-guy lyrics being yelled all over the show. Some of the lyrics even seem a little juvenile (eg. "no matter what you did or who you fucked, I'd go through hell for you no matter what"). They're even getting in on the whole guest vocals onslaught thing, with the likes of Vigil from The Ghost Inside, Andrew from Comeback Kid and Cory from Norma Jean joining in.

And really, that's what Rising Sun is: SFTP returning to their chaotic brand of pissed-off, no-frills hardcore. And though whilst it's not their most advanced, respectable or solid release to date, it's still a hell of a good time.

Rising Sun
Released: 2011
Country: USA
Genre: Mathcore/Metalcore
"Death Beds"
"Bring It Back To The Streets"


FFO: Structures, The Chariot, Embrace the End

Fleshgod Apocalypse - Agony

> NOT-CORE ALBUM OF THE WEEK, 06/11/11

It's not often that music of any degree of decency makes New Zealand airwaves (or TV waves), so when shows like MTV's Headbangers Ball come on I leap into action and gawp at the screen for an hour as vaguely-respectable music goes in one ear and out the other. And on the odd occasion they play something interesting like Fleshgod Apocalypse.

What would otherwise be fairly cookie cutter, run-of-the-mill tech death is taken a step further with an intense layer of orchestration that takes the music into an all new realm of majestic epicness.

Agony
Released: 2011
Country: Italy
Genre: Technical/Symphonic Death Metal
"The Violation" music video
"The Betrayal"

For The Fallen Dreams - Back Burner

> CORE ALBUM OF THE WEEK, 03/11/11

This album received a slamming from both reviewers and fans alike, and I definitely wasn't looking forward to it after the let down that was Relentless. In fact, it wasn't until some months down the line from release that I actually bothered to listen to it... and though met with the same shock that many felt, I was also pleasantly surprised.

Let's get something straight: this is no Changes (FTFD's debut LP). And no, it never will be. And I imagine the band will never release another album like that. The problem seems to be that so many people go in expecting Changes because it was an album of such promise, and is considered a hallmark of melodic hardcore/metalcore... and they're disappointed when they realise the band is changing. Shying away from the new ground their first album broke is certainly a change for the worse, but by no means is Back Burner a bad release in itself when looked at separately.

Okay, yes, it seems quite watered-down and simplified in many places. The turn to cheesy clean vocals to provide more an element of melody doesn't help, and the album almost feels like a guilty pleasure. It's catchy, fun, anthematic and heavy, and though mindless at times it's still an entertaining listen. Fact is, in my opinion Back Burner is the band's most instrumentally-solid album to date, and if the clean vocals were dropped it would certainly trump all their previous releases.

Changes itself wasn't even that solid, with only a handful of epic tracks actually standing out. This album makes Relentless sound like B-sides and it seems like the band managed to refine the sound they were trying to reach with it, and though it's not the follow-up to the first album we all longed for, it's a new path for the band with new a vocalist and songwriter that you need to learn to quit whining about and accept.

Back Burner
Released: 2011
Country: USA
Genre: Melodic Metalcore/Post-Hardcore
"The Big Empty" music video
"Say What You Will"


FFO: The Ghost Inside, The Plot In You, A Day To Remember

RAGE

> GAME RAMBLE, 02/11/11 (IN-DEPTH)

Rage is a game that was hyped from the beginning, and is one of the few games I've been lured into following during development. Though many fanboys will deny it, the game does immediately bear its resemblances to titles such as Borderlands or the Fallout series, which is originally what piqued my interest. Though beyond that of very vague secondary gameplay, storyline and setting similarities there isn't much else in common - Rage is a shooter at its core, and a damn good one at that.


Avoiding too many spoilers, the game takes place after a monstrous natural disaster on a ravaged, post-apocalyptic Earth. You, the protagonist, emerge from a sort of cryo sleep in a government bunker called an "Ark", and are immediately swallowed up by the conflicts and issues of the settlers and other wasteland folk around you. Though the maps seem vast and the landscape expansive, it's all a guise; the game itself is surprisingly quite linear, almost like many other generic FPS campaigns... there are a few elements that take it a step further than that, however.

First off is the very slightest hint of an RPG-ish approach, in that the main story is progressed through by accepting quests, or "missions", as well as being offered a fair helping of side-quests along the way, and enough freedom to pursue them in your own time and desired order. There is also slight looting, though it's only really used to get you enough cash for ammo, weapon upgrades & armor, or for the engineering system the game has - where deployable or useable items can be crafted and greatly alter your gameplay. Utilizing the crafting becomes essential in harder areas, to give you access to incredibly beneficial gadgets and the like.


Then there's the driving element. Driving is the main way you'll be commuting about the wasteland (since all there is to 99% of the wasteland is miles of dust, sand, concrete and rocks), to get from your bases of operation to the various other settlements and hideouts. There are also competitive races to participate in at a couple points in the game, which offer rewards that allow you to further upgrade your vehicles - both for these races, as well as for combat with bandits in the wasteland between destinations. Though the driving certainly takes the background, it's incredibly well executed; the cars handle beautifully, and are a total blast to hoon around the wastes in.

There are also some gambling-esque minigames to partake in, including an almost strategic card game played using the collected cards found around the wasteland... though these can get boring, or even agitating, and are only usually played for the achievements or trophies.


What the game focuses primarily on and exceeds at though, is the shooting. The guns all handle nicely and perform relatively well - though some enemies will take a severe beating to put down in order to give the game an element of difficulty. Your arsenal is expanded as you progress through the missions, not only in the variety of weapons themselves, but also in the ammunition types available for each (that too become unlocked through progress, or schematics) - all tend to behave differently or have a different effect... for example, you can equip your "Striker" crossbow with electrified, explosive or mind-control bolts rather than standard ones, or the AR/MG can equip rarer & more expensive but powerful & armor-piercing ammo. Combine that with the offense-oriented array of engineering craftables and you become a personalised force to be reckoned with.

The other element of shooting comes in the form of the enemies you take on, and they come in all shapes, sizes and mannerisms. Rage throws everything at you; from the melee-wielder who zips and dives and advances cautiously yet strongly, to the cover-seeking ranged attacker who'll pop out to fire a few shots your direction, to the crazed & rabid rushers that swarm you, and to the hulking behemoths who stand their ground and rain destruction down upon your head. Though no enemies are particularly "intelligent" per-se, the AI is executed incredibly for an FPS campaign - enemies will react to where you aim, where you shoot, where you move. They attack in groups, retreat, lay suppressing fire and flush you out with grenades. The animations are also very lively and fluid, and sometimes a joy to watch.


The game itself is a marvel to behold. Immediately there's the obvious post-apocalyptic aesthetic that lured me in the first place, being a fan of Borderlands and Fallout (and I even got the slightest Jak 2/3 vibe here and there). The way it's executed in Rage, whilst nothing all that new, is still impressively done thanks to the jaw-dropping graphics, that have even been called "next-gen". Cavernous canyons expand for hundreds of miles, with the faint remains of decrepit cities on the verge of teetering over barely visible on the horizon. Which, in the case of the PS3 and its out-dated hardware, also becomes a downfall. Even the 8GB game data install for textures wasn't enough, and the first step out of the Ark in the beginning is both awe-inducing and cringe-worthy, as the textures blur, shift, pop and seem to come to life. Though the engine works to improve the texture problems through extended playtime and loading, and it eventually becomes negligible, it's still a blight on an otherwise beautifully crafted world.

Another problem in the game commonly brought up is that of the length of the game, and the simple labelling of the entire campaign as "fetch quests" (though really, how else were ID to execute it?). I managed to nearly finish a Normal difficulty run, and then complete a Nightmare difficulty speed run and an Easy run for the leftovers, and platinum'd the game in about 30 hours. It is rather short for a shooter campaign, considering the game doesn't have all that much of an expansive multiplayer element to fall back on (more on that soon), and the ending left a LOT to be desired (some claim it as the "worst video game ending ever"). The game is a blast, but it's a blast short-lived, and just begs for DLC to add more, to add ANYTHING to the experience.


The games multiplayer element is there alright, and it's incredible fun, it just doesn't really provide the potential for hundreds of hours in PVP/co-op that other FPS games offer. The co-op mode (which can be played split-screen, a nice change) consists of nine 15-30 minute long missions called "Legends of the Wasteland", that detail elements of the campaign's history and provide more of the same shooting goodness. The PVP vehicle element is an all out onslaught of speed and chaos, with a plethora of unlocks to customise your ride and play style... but though it's enjoyable, it's easilly the laggiest online I have EVER played, especially considering there's only 3 other players.

Rage isn't complex. Unlike the more RPG-oriented counterparts it's consistently compared to, it doesn't try to be. It does what a shooter should do: provide heart-pumping, adrenaline-fueled gunplay, and it does so with a few extra bells and whistles on the side. What it lacks in length it makes up for in immersion and intensity; and though you may breeze through it in a couple weeks, a week, or even just days, they'll be some of the best damned quality FPS-playing days you'll ever have.

Rage (PS3)
Released: 2011
Developer: id Software
Publisher: Bethesda
Genre: First-Person Shooter
"Untethered" trailer

Feist - Metals

> NOT-CORE ALBUM OF THE WEEK, 28/10/11

I've been rather torn on this album, which is why I'm reviewing it late. I knew Feist was retreating from the more pop-oriented approach she took on her last album The Reminder, but I didn't realise the leap back would be so... well, backwards. Gone are the immediately catchy and satisfying hooks of previous work; instead, Metals is more along the lines of being minimalistic, subtle and reserved.

If you go in expecting the usual Feist you may be disappointed - I know I was. I just couldn't for the life of me get into the album, it just didn't grab me... until one day I realised, this album isn't meant to grab. Unlike previous releases which have their frequent moments of instant gratification, Metals demands your undivided attention to it in order to appreciate it fully.

Whereas Feist's music used to be good for a sort of quick, mindless pick-me-up, Metals follows the style not many of her previous songs took - where a little quiet downtime to yourself is the perfect sort of time to enjoy the music, away from distraction. And once you allow yourself to become fully immersed in the album and appreciate just how much is going on beyond the surface, Metals is an incredibly beautiful and often moving release. Though I'm still not totally sold on it, and I'm not sure I like her change in direction, there's no denying Feist is a talented musician in all that she does.

Metals
Released: 2011
Country: Canada
Genre: Folk/Indie Pop
"The Bad In Each Other"
"Get It Wrong, Get It Right"

Born of Osiris - The Discovery

> CORE ALBUM OF THE WEEK, 25/10/11

Yeah, I know... more prog deathcore. I can't help it, it's become an addiction. I try to get into big boy death metal, but I just cannot for the life of me find any progressive or melodic death bands that match the sheer layered melodic complexity and epicness that their deathcore counterparts provide so readily.

Born of Osiris are no exception. The soaring shred and crushing chug of the guitars is only intensified by the plentiful use of keys/synths that add a layer of chimey spaciness... an array of entrancing bleeps & bloops and soundscapes, to contrast and accompany the riffing. At last a core band that uses heavy electronics maturely, without turning it into some sort of cheesy techno gimmick.

The Discovery
Released: 2011
Country: USA
Genre: Progressive/Melodic Deathcore
"Recreate" music video
"Singularity"


FFO: Circle of Contempt, After The Burial, The Contorionist

Windmill - Epcot Starfields

> NOT-CORE ALBUM OF THE WEEK, 19/10/11

Windmill was one of the artists that helped me during period of my life of developing open-mindedness and musical discovery, to hear and appreciate the poppier, more minimal and simply happy side of music. Though despite having listened to his previous album Puddle City Racing Lights for some couple years, it wasn't until around halfway through this year that I took the time to hear his latest offering, Epcot Starfields.

This album is quite a leap from his previous, but still manages to sound like more of the same... which if you're like me, is more of the same that you love. It seems more mature, described as combining "star-gazing and shoe-gazing", a clear lyrical focus on stars, planets, space, science and philosophy in general, and the music sounds more minimal, atmospheric and reserved. At the end of the day though, it's still the quirky piano-driven pop that Mathew Thomas Dillon (the pivotal member of the project) showed us he excelled at with Puddle City.

Epcot feels a lot shorter as an album, being 4 songs and 13 minutes shorter than its predecessor, and also feels less varied, but I put it down simply to Thomas managing to refine the sound of Windmill. Previous material was irregular and almost erratic, but this album comes across as a cohesive whole, each song playing an important role in the story and theme of the album.

Epcot Starfields
Released: 2009
Country: UK
Genre: Indie/Dream Pop
"Big Boom" music video
"Airsuit"

Circle of Contempt - Artifacts In Motion

> CORE ALBUM OF THE WEEK, 17/10/11

The Finnish are renown for being masters of black metal and folk... and apparently they can also ace deathcore like none other, too. Though a bit more breakdown-laden than some would be comfortable with, it's balanced out with some nice shred and technicality, and the guitar melodies are some of the most intense and haunting I've ever heard.

Add a light pinch of brooding soundscapes and subtle orchestration into the mixture, and you've got a recipe for great success that puts them among the cream of the crop of the genre.

Artifacts In Motion
Released: 2009
Country: Finland
Genre: Progressive Deathcore
"Concealed" music video
"Nothing Imminent"


FFO: After The Burial, Born of Osiris, Veil of Maya

Kimbra - Vows

> NOT-CORE ALBUM OF THE WEEK, 16/10/11

Any other kiwis who in any way follow the musical happenings around the country will probably have heard of Kimbra, a young artist who found fair success as a teenager (well, for an NZ teen artist at least) and who seems to have been groomed ever since... and has emerged an incredible vocalist with an incredible debut full-length.

From simple acoustic sets here and there around the country to earning international adoration, her fresh approach to pop (that seems to frequent the realms of indie & alternative, with strong overtones of jazz/soul) is a testament to my firm belief that popular music isn't all attention-grabbing and watered-down, it can be interesting when used in the right hands.

Vows
Released: 2011
Country: New Zealand
Genre: Alternative/Indie Pop
"Settle Down" music video
"Cameo Lover" music video

It Prevails - Stroma

> CORE ALBUM OF THE WEEK, 15/10/11

It Prevails add their latest effort to the epic plethora of melodic hardcore/metalcore albums being released the latter half of this year with Stroma, an album that's been out for some time but I've put off reviewing because, well, really it's a slow grower. I wasn't impressed at first... not that I thought it was bad, I just simply thought it was good. It didn't have any instant "wow" moments like the previous album Capture & Embrace ("Brothers to the Flames" and "Defences Down" to name a couple).

Unlike the last album though, Stroma is incredibly solid. The last album was up & down, with songs varying between the totally epic and the somewhat forgettable. Though it may not give the moments of instant gratification Capture & Embrace gave, it certainly provides more quantity, which as many agree has a quality in itself. I've become quite fond of the album and I'm positive it out-does their previous material, and is a step in the right direction. Less melody in chords and more of the chimey, plinky picking and guitar-work makes for a spacier, more instrumentally beautiful listen.

Stroma
Released: 2011
Country: USA
Genre: Melodic/Progressive Hardcore
"Holes"
"Something More"


FFO: Hundredth, Taken, Beloved