Happy 20th birthday to Mother 2! That game flat-out changed my life.
Xerxes announce ‘Collision Blonde’ + Stream ‘Chestnut Street’ via SPIN
Xerxes have announced plans for their upcoming sophomore LP titled Collision Blonde which will be available through No Sleep Records on October 21st, 2014. The new album was Produced by Xerxes & No Sleep alumni Evan Weiss of Into It. Over It. You can stream the first track from the album now via SPIN.com right here and then pre-order the album here.
You can pre-order the new album now at http://nslp.co/collisionblonde in Vinyl, CD or Digitally. Also available is a new tee with the bands new X insignia. You can also preorder the new album now via iTunes and get an Instant Download of ‘Chestnut Street’.
The band’s sophomore full length is backed by guitarist Will Allard, bassist Joseph Goode and drummer Ben Sears (who also plays alongside Allard in Whips/Chains). With a new line-up and some years removed from their young, violent hardcore days, Collision Blonde’s instrumental prowess sounds less like their elder contemporaries and more a cleaner tone reminiscent of Jesus and Mary Chain and The Cure, yet sharp and uneasy in the vein of Bauhaus’ early gothic post-punk edge. Tracks like “Knife” and the closing “Nosedive” are aggressively built up into a cathartic release, alluding to Ceremony, Iceage and mewithoutYou at times.
The band took a couple of weeks, held up in Allard’s basement studio in late March, to record with fellow musician and friend Evan Weiss (You Blew It!, The Jazz June) who helped co-produce the album. While the music may allude to a heavier dream pop sound, it’s still very much a hardcore record reminiscent of Dischord’s blends of punk and harmony. Collision Blonde is a lyrical wreck that’s driven by love, drugs, depression and waking up in a cold sweat wondering “What’s next for me?” on a consistent basis. It’s thoughtfully countered with a harmonic jangle of reverb, delay and hooks, as Xerxes has created their most polarizing work to date.
Very excited for this.
An interview kevinduquette did.
Here I am talking out of my food hole about stuff.
OMORI is a surreal psychological horror RPGmaker game. you must travel between two worlds, both welcoming, both concealing the same secrets. meet new (old) people, fight new (old) enemies, explore your own memories, and uncover some hidden truths along the way (although you wish you hadn’t.) when the time comes, you can only choose one
which world is more real? you decide, i guess.
for those who don’t know, i’m making a video game!! (and that trailer is pretty much a giant .gif)
DONATE TO THE KICKSTARTER (for 3DS stretch goal)
this project will be funded on thu, jun 5, 2014 12:40 PM PDT which means it’s ending in just a little under TWO DAYS!!!!
Q:Earthbound or Chrono Trigger?
dont think i can really choose which is better, but i personally like chrono trigger more which might be just a childhood bias or something. i find that game so immensely beautiful and powerful in a way that it might not even have been meant as, but it’s just a testament to a lot - even if the storytelling is normal square/rpg stuff (though i think a little weirder and more refined) it left such an impact on me and the themes at its core are so universal - plus it’s just beautiful in a really surreal way that earthbound wasnt.
but earthbound was never meant to be beautiful or surreal and i think it might be the better game overall - it’s so strange, and it is beautiful maybe but in a really weird, playful way that belies it’s darkness and maturity. i think it holds up better if you come into it as an adult never having played it before, whereas chrono trigger is tougher to appreciate if you didn’t grow up on rpgs already probably, since earthbounds weirdness is more universal and would appeal equally to kids or adults.
there’s a really beautiful thing the creator of earthbound wrote about it recently comparing its creation to a bunch of kids / people trying to make a new world out of whatever they could find lying around the house. im doing the quote no justice hold on
It was like a group of children taking dolls from a toy chest.
Old dishes no longer used in the kitchen.
Nuts and bolts found inside a toolbox.
Little flowers and leaves from the backyard.
And they were all laid down on the carpet with everybody singing made-up songs.
Ready to talk all day about that world they just made.
That, I think was how Earthbound was made.
Well, I’m a grown-up too,
so I didn’t hold back in adding things here and there,
like putting more angles here,
hiding a secret there,
and sometimes slipping in little mean things.
Then a whole lot of friends came over to play.
And they helped it grow as they were having fun as they pleased.
They gave it branches, leaves and flowers,
to what was once a simple story of just root and trunk.
For every person that played, there are that many iterations of Earthbound.
which is really beautiful to me and exactly how i want to approach music (and making anything else). i try and view every album i work on that way really - creating something bigger and lasting out of small pieces i find, and trying to make a world you can get lost in repeatedly and keep coming back to and finding new things inside, even after you know it really really well, intimately, it grows familiar and comfortable but also newer and bigger with time.
the full thing i quoted is here - http://earthbound.nintendo.com/message/ - and if you’ve played the game and never read it you should because it’s honestly so touching and true
its weird to be so emotional over video games and im not a nerd but i think this general idea applies to art of every kind