Join Alex and Tigs as they discuss water, that’s right water, in video games, Rayman: Legends, Sly Cooper: Thieves in Time, Persona 4, Wake Up Club, Foosball 2012, Ni No Kuni, DmC, Sins of a Solar Empire: Rebellion, Endless Space, hear Tigs start to go a little crazy and much more on this episode of Griefed! Recorded on January 23rd 2013.
Join Alex and Tigs as they discuss Simulation games, Crimson Alliance, Kentucky Route Zero, God of War: Ascension, Dishonored, Sins of a Solar Empire: Rebellion and a lot more on this episode of Griefed! Recorded on January 16th 2012.
From the opening count, on what could be the best song of the year, to the final crash, on what could be the best song of the year, this album never stops. More than “it never has to,” it simply cannot. Tear out the engine of your car because it can run strictly on Open Your Heart. There’s no polish, no waxing, it’s blaring guitars from your neighbors garage. You may think that The Men are slowing down sometimes, or catching their breath but the truth couldn’t be further. You are the one who may need the break. The musical variety on the album will keep you guessing, thanks to the bands three main songwriters and a wide variety of influences. I’ve been waiting for the moment when I stop listening to Open Your Heart, when I grow weary of the noise, but it hasn’t happened yet. Whenever I’m asked what I’m listening to, ever since March 6th my answer has always been the same. When I wake up, I think about listening to Open Your Heart, when I’m going for a walk the first album I put on is Open Your Heart, when I buy a new record I immediately compare it to Open Your Heart and then listen to that instead. When will this all get old? It doesn’t matter. Maybe the beauty is that it’s already old, a classic in not-so-mint condition,the amalgamation of everything from my childhood and beyond condensed into a single album. Maybe it’s just a great Rock and Roll album, something we don’t see enough of these days. Maybe I’m daft. Maybe you should give it a listen and maybe you’ll see where I’m coming from. Maybe, maybe, maybe, maybe maybe maybe maybe maybemaybemaybe.
Since my initial, incredibly impressed but seldom read impressions of Sharon Van Etten’s most recent album, Tramp, she has released a deluxe edition that includes demos, journal entries, and a self portrait scribble, as if you needed more reasons to bring this album home. She’s a poet, but she’s never quick to speak, if she speaks at all. The most amazing thing about Tramp, and maybe this is just where I am, but is the incredible sense of melancholy it drives through your heart while always standing next to you, helping you up when you need it. This isn’t about coming to terms with the end of your perceived everything, it’s that period in-between, after the overwhelming joy, after the complete submission to depression, but before the acceptance. It’s bipolar in the best (worst?) ways possible. Yes, I’m aware of the big name “indie rock” “legends” across the album, with names from Beruit and The National among the ranks, but fuck all of them. None of them, except for Zach Condon’s ukulele, mean anything to the album. When they do pop up their heads, all I want to know is when Sharon is coming back, where she went, and why she left me alone with these crazy people I don’t know. I’m standing in this fucking room, at a party I thought I’d have a good time at, the only person I know is the host who is obviously busy and overworked, maybe I can help out in the kitchen? There must be something I can do here, just keep your eyes looking straight ahead but don’t look at anyone, look past them all, watch the door for no one. Don’t turn off that light! It’s not safe to go out there alone.