Resident Evil 6 Review (PS3, Xbox 360, PC, 2012/2013, Capcom)

Talk about a divisive game.

The last few Resident Evil titles are not without their critics, let alone those who are outright dismissive of them. However, in spite of the very vocal bandwagon that derides this game at every turn and all that they say this game is guilty of, there are some things you can consider positive about this outing.

What we have here is pretty much a cash cow franchise. Almost two dozen games have been released with the name, with very few of them considered non-canon (Gaiden comes to mind). Three of them managed to sell upwards of five million or more copies, it has spawned a lacklustre but financially reliable film series, a bunch of shitty novelizations have since been written, and it has become a focal point of the survival horror genre. 

Then again, Resident Evil 6 is not considered survival horror anymore. Would that be a correct assertion? Overwhelmingly in the face of all odds; yes, this is not a survival horror title. Survival elements are at a minimum, and frankly there's too much shit going on at almost any one time for it to be considered horror; it's not visceral, it doesn't play on your fears, and it's just not scary. But is that really so much of a detriment? Has this series ever been all that scary, considering that only the first game (and it's startlingly good remake) actually managed to be so?

This is an action game, through and through. It has very light horror elements, namely in Leon & Helena's campaign, but you won't leave scared. The tension is very low, as well, only ever coming to fruition during a frustrating sequence (typically quick-time events, though this game is more forgiving than most in that regard) or a halfway challenging boss battle. Otherwise, this is a straight up action shooter, and it doesn't suffer from that. If you just stop looking at it as an entry in a "scary" game series, which the series has almost never been (again, take note of the one exception), then you may be able to look at it with less unfair scrutiny.

The amount of effort put into this game is quite evident: a sprawling, if not overstuffed story, large cast of characters, up to six hours of gameplay per chapter (and there are four of them), possibly the best Mercenaries incarnation yet, and a fantastic roster of enemies means that Capcom didn't quite skimp on anything here. The old favorite zombies return, nastier than ever, almost acting as a foil to the Ganados/Majini-like J'avo. The difficulty is downright brutal at times, which doesn't include the ridiculously over-used quick-time mechanic. And each character has their own movesets and playstyles, setting them apart from the rest.

Yet there are many problems present. One is in the sheer length of the story mode, and just how inconsequential it ends up feeling. Too much crap is piled into the story and it just doesn't end up working all that well after what feels like thirty hours into the game. Most of the time, each character storyline simply meshes into the overall narrative shared between them, so it means that you're only really taking on a different perspective of the same incidents depicted in the plotline. Only Ada's campaign comes off as meaningful, because the rest are burdened by red herrings: Leon & Helena are hell-bent on killing the guy who jumpstarted the viral infection, at least in their starting location; Chris & Piers are hell-bent on capturing/killing Carla who thinks she's pulling all the strings; Jake & Sherry are just trying to get the hell out of dodge pretty much. While all of that crap is going on, Ada is unraveling every villain's plans & giving everyone cover at one point or another, effectively curbing the apocalypse just about all on her own. If any character is the real main character in this drawn out story, it is Ada, because she has the most far-reaching effects on the entire plot. Which is a neat touch considering how much of an enigma she is in the other games, but this really could have been just her game and it wouldn't have suffered for it. The other character storylines would have been better used as shorter bonus chapters, but then people would mostly have ignored them anyway.

And then those fucking quick time events come into play. And how often they do!

Do I need to haunt myself with the knowledge that these things exist in such an abundant supply in Resident Evil 6? This game contains more of them in just the tutorial than half of any of the previous games combined. And they often occur as part of what should be normal gameplay, usually as a dodge mechanic or simply because Capcom tried, and failed miserably, at cramming too many controls into the game. I'll get into that last bit later but this game is brought down by the sheer number of button prompts, big-time. The only upside at all is that they aren't buggy (at least from my experience) and they are a bit more forgivable than most. That's not much of a defense, though; this mechanic will be seen as an anachronism quite quickly, if games don't fucking drop them soon enough.

Another plague, perhaps a plantar's wart on the foot of this game if you will, is the camera. It is hands-down, the single-worst camera system in the series' history. No other game comes close. When I played the demo, I had no idea just how nauseating the camera can be. Just the act of running (a neat but long overdue gameplay mechanic) forces the camera into conniption fits, with it bouncing wildly with each stride. It gets caught in the scenery often, and the angles that it defaults to are horrendous, requiring constant readjustment from the user. Sometimes it's a battle against the camera that leads to the player getting killed, and that alone makes this a huge negative for the game.

Of additional note is both the interface and more importantly, the controls. The interface isn't entirely bad, but it requires understanding just what the fuck it all means. There are symbols for each option and while it is mostly common-sense, you're often too busy fighting against the real-time nature of the pause menu to figure out what each option does without clicking on the quit button. But what is worse yet is the control system. It's just as bloated as the storyline, if not moreso. There are so many commands to pull off in this game that I don't even think the game itself lists all of them. 

Often is the case where you have to pull of multiple combinations of each & every button, sometimes just to pull off rather arbitrary moves. Want to dodge an incoming attack? Hold the attack button and press the run button. Want to perform a dive-roll? Hold the attack button while moving forward and press the run button, too. Want to, almost pointlessly at that, switch your orientation from the default left side of the screen to the other? Well, learn yet another combination of buttons. Get used to it, and try to remember it. This is excessive and unneeded. Less is definitely more here, and I hope Capcom learned something in this regard.

In spite of these flaws, and there are certainly more, this game does have its strengths. It can be legitimately fun, there are a number of mechanics that were long overdue such as the ability to sprint and free-standing melee attacks (limited by your energy gauge), and like I mentioned, the enemies are great. And about the only good thing about Jake & Sherry's campaign is also one of the most badass things in the series; the Ustanak, who is the successor in virtually every regard to Nemesis. You may or may not come to embrace the eventual final exit of this juggernaut, which is something of an accomplishment in this bloated story. And this game does challenge you at times, legitimately outside of those dastardly quick-time events. Often it is because the game conceals easily missed but simple ways of moving the game forward, or taking down a boss, clearly because most players come to expect something much more out of these situations. And the game has a skill system that adds some depth to how you play, allowing for all sorts of combinations each time. 

The Mercenaries, as mentioned previously, makes a marvelous return. And while it may turn off some players because of its difficulty, for seasoned players such as myself it is a welcome evolution. Couple the game's new controls (which is certainly a good & very bad thing at the same time) with that which has been established in the last couple of games, and you have a clear winner. There are many stages to tackle, there are unique challenges in each, the enemy progressively gets nastier over time with each successive kill, and you get a feeling of accomplishment through it all.

And while it certainly does recycle a lot of the functional foundations of the gameplay (many animations and moves, even some sounds and mechanics, are noticeable to a seasoned player such as myself), it doesn't have a shortage of newly-created assets. If anything, the game has a lot to offer, but it all feels so fragmented so as to lose cohesion between it all. And if the storyline didn't suffer from excess and from one frustrating forced cinematic sequence after another after another after another, it wouldn't hurt so bad. I don't live in a bubble where I truly believe that this series was ever, with the exception of the original game, scary. And I don't clamor for the days where we had fixed camera angles, tank controls, and sometimes superfluous item management in the classic games. Not to say they were bad, but they were wearing thin to a point.

Here's to another title, addressing all of its legitimate issues and paying heed to none of the obsessive bullshit from bandwagon-riding detractors.

The Rundown:

Positives

+ The Mercenaries returns, delightfully.

+ Has overall the best graphics in the series yet.

+ In spite of the overlong storyline, it has its engaging parts.

+ New character Jake opens up new gameplay styles.

+ Ada's chapter shines among the mostly "meh" ventures preceding it.

+ Adds an actual sprint function, actual dodge ability, and free-standing melee (perform it at any time), among other things.

+ Almost all of the enemies are a blast to, well, blast away or boot in the face. 

+ Zombies make a return, and they're nastier than ever.

Negatives

- The story mode feels way too long for its own good, and overstays its welcome.

- In spite of Leon's short-lived atmospheric appeal, and Jake's hybrid of survival & high-octane action, Ada's campaign is the only one really worth playing.

- Complicated and overpopulated controls.

- The most quicktime events ever witnessed in a single Resident Evil title yet. Just the tutorial section had about a dozen of them, all amounting to about five minutes of gameplay!

- A few bugs affecting play, most noticeable in the Mercenaries.

- That fucking camera is about as bad as watching any Michael Bay film. In other words, it stricken with attention deficit disorder AND an extreme case of Parkinson's disease.

- Zombies all over the place, with dynamite, at every turn is more frustrating than anything else (The Mercenaries: No Mercy mode)

- No one plays the multiplayer anymore.

- Somewhat poorly conceived UI.

- Inconsequential story conclusion and a misguided primary villain.

C+

Mark the Calendar: December 18 (RE: Ian Watkins' Sentencing), Raising Awareness on Depraved Sexual Abuse of Minors

Come December 18th, I will take part in/initiate a hashtag whereby I praise the very necessary indictment of the monstrous, sickening, depraved piece of shit known as Ian Watkins, formerly of Lostprophets fame. The children he has hurt, damaged, irrevocably violated will never be the same, and his sentencing is not enough. He took full, disgusting advantage of the fame & power he had amassed, and thankfully, people locked him away so that at least for up to 32 years, he cannot violate another soul.

We're talking about, at the time of his most disturbing crimes against humanity, infants less than a year old. He did things I don't want to describe on here, as this would get some attention.
Awareness of the monster that this Ian Watkins truly is is key to the bigger picture, the greater awareness that people like him are to be found elsewhere, doing things that would drive people mad with rage, disgust, and despair. Not only that, but there are two women who willingly became accomplices who are nearly as depraved as he, for they, (quite apparently) with glee, presented their VERY young children to him to be...god.

If you can stomach what you`d read about this scum of humanity and his most disturbed accomplices did, then you can read about the court remarks/findings here: http://www.judiciary.gov.uk/…/Ju…/r-v-watkins-and-others.pdf

December 18th couldn't come any sooner. He was sentenced that day last year, and for the honour of the children he, and others like him have violated, awareness shall be spread via Twitter. It's a useful platform to make sure people are aware of crimes like these happening around the world today.

To say "Fuck you" to Ian Watkins is truly not enough, and does nothing to alleviate the destruction he has wrought. I can only imagine how his former band-mates felt when they heard of what a monster he turned out to be. I can only imagine how his victims through the last ten or so years feel, having been destroyed by him. One can only hope that the pain that those two infants will feel when they are older and become privy to the truth, that it doesn't overwhelm either of them.

Maleficent review (2014, Fantasy/Thriller/Family, Robert Stromberg)

The original classic Sleeping Beauty had a more compact, and because of it, easily digestible feel. Dark, foreboding, enchanting, and frankly quite neat, the 65 year old original had long-since earned its status as one of the greatest Disney classics.

Then a couple people with no original ideas of their own looked at that classic, thought it should be revitalized and maybe even twisted around because why the hell not, and ended up making this movie. Is it horrendous? No, not really. But it's just so inconsequential that that is my main problem with this film.

I have to get it out of the way right at the get-go: one of the very few saving graces for this film is in Angelina Jolie's performance. Throughout her entire run on-screen, she pretty much steals the show. And while she nails the deceptively malevolent vibe of the character down to a 'T' (you'll understand why I said 'deceptively' soon), just about everything else about this movie nearly brings her performance down to the level of ambitious, yet failed fan-fiction schlock that rips off just about every work of fantasy in history.

The special effects, as expected by the man who worked on James Cameron's Avatar, are solidly done. But anything that isn't directly involved in the narrative, such as the many spells employed by our title character herself, doesn't even matter in the first place. The effort that went into designing those effects could have been put to better use, but instead they serve to dazzle the audience like Fiddler's Green from George Romero's Land of the Dead used fireworks to distract zombies. In fact, you pretty much have to be a zombie to even appreciate this film at all, because as mentioned, there's a lot of fluff, very pretty fluff at that, but that's still useless and pretty fluff. Likewise, the cinematography is good as well, at least in appearance, but that's pretty much all I can say about it.

Like most movies over the past decade or more, this film somehow lacks a memorable soundtrack. Compare this travesty to the more heartfelt (and arguably just as dark) original which utilized some of its soundtrack to spotlight the plotline (in other words, sing-song, just like what you get in so many other Disney films throughout its history). This lack of a soundtrack that even adds anything of substance serves as another nail in the coffin as to just how soulless this film is.

Aside from Jolie, who, as mentioned, steals the show pretty much all the time she appears on screen, nobody really does anything of note. Some characters, and thus the performances of those portraying them, even got outright neutered in this live-action re-imagining of Disney's classic. The three fairies Flora, Fauna and Merryweather all became unfunny Three Stooges spoofs, whereas in the original they were vastly essential to the plot. In this film they are stupid, obnoxious, and ditzy, ending up being negligent regarding Aurora's very well-being. In the original, they raised her with love and care, protecting them at all times, most certainly living up to the trust that her father gave to them in the first place.

The prince, who originally was the ace, the means of breaking the curse that the title character set on Aurora, ends up being absolutely irrelevant in this film. He's an outright red herring, serving as a means for the filmmakers to smack you, the audience, over the head with the ludicrously lame twist. In the original, he was the one who broke Aurora out of her death-like sleep; here, he kisses her, and nothing happens because for the sake of the movie, he and Aurora never really had any lasting contact let alone any chance to form such feelings. Well, Aurora seemed to feel something after their first and only true encounter, but that might have just been her loneliness dissipating for a bit. So who is the one who'd deliver true love's kiss? Well, none other than Maleficent. See where this is all going?

Sharlto Copley, previously seen in sleeper hits such as District 9 and the decent follow-up Elysium, doesn't really fit into this film. He's a solid actor and all, but he's above his role and he inadvertently hurts his own performance just being there. Plus it felt like a cruel cop-out to suddenly thrust the antagonist role onto him, considering his position in the story, just for the rather silly twist.

There's a battle scene that plays out when Maleficent has grown into, well, Angelina Jolie, whom takes it upon herself to protect the Moors from a king that never seemed to care about the place until this point of the film. It's actually quite brief, so you won't get anything of the caliber seen in the second & third Lord of the Rings film entries. Tree & rock monsters enter the fray, including a serpent of sorts, and Maleficent herself shows superhuman strength with the flapping of her wings alone. The king is knocked on the ground, Maleficent tells him off, and that's that. Later he's seen dying, or something, so he seeks vengeance in the form of a volunteer, and that's where Maleficent's downfall (which is downplayed in this film, as per the twist I mentioned previously) is set in motion.

Some later scenes look very Avatar-esque. One of them has Aurora, assumed to be sixteen-years old, basking in the fantastical glory of the Moors, interacting with the various creatures within as if she were their goddess. They take to her so quickly it seems because she's so happy and whatever, whereas Maleficent is kind of the opposite. Now, all of this would have meant something had the film been faithful to the original storyline, but it ends up falling flat. Maleficent lost her will to do good in the world, at least in the original, whereas here she just seems to have a long-lasting hissy fit. The one thing this film has on the original tale is that the tragedy that sets her downfall in motion is actually quite tragic, based entirely on betrayal rather than being excluded from a gathering of sorts like in the original fable. Had it been a faithful, albeit still updated take on the old tale, there would have actually been an interplay at hand, people would have had a reason to care about these spectacles showcasing Aurora's synergy with the wonders of the Moors, and Maleficent wouldn't end up so...tame. All considering the reason she is sent on a downward spiral in the first place:

She loses her wings to Stefan, Copley's character in the film.

Now that development, something that had the film not tapered off toward the end, would have endeared it, seemed like a great way to not only show why Maleficent would lose her good ways, but to also make the audience feel a bit of sympathy for her. How was she to know that Stefan would choose to steal her wings, even if he had good intentions in doing so? Some filmgoers might not even recognize the reasons for his sacrifice, as it is something you need to pay attention to to understand, but it's very much there. However, when the final battle is raging, Aurora finds Mal's wings locked up and, alive & moving on their own. It makes little sense but bare with me here: she then proceeds to smash the wing's prison, and they fly themselves to Maleficent while she battles Stefan's knights and attach themselves to where they originally were. The "what-the-fuck"-ery on display here is so huge because it ruins a lot of what could have made this flick more likeable.

One particular reason it ruins the film for me, and has seemingly so for others, is because of the question, "why didn't her wings do this before, such as while Stefan was riding them to the kingdom, with little to restrain them from flying back to Maleficent?" And another question arises after you've watched her conjure all manner of spells throughout the duration of the movie; "If Maleficent has all of these cool powers, then why oh why can't she grow a new pair of wings, or fly in some magical way?" In fact, in one scene where Stefan's knights are trying to barge their way into the Moors, well after Maleficent has closed it off in anticipation, Maleficent holds the group of knights back with, amongst other spells, the ability to make them fly into the air. Well, they don't of their volition, but if she could do that then what the fuck stopped her from granting herself something like flight, without wings?

But somehow the film is (supposed to be) better than it should be because the narrator knows the truth about Maleficent, because she is Aurora. If this revelation prior to the last slide of the film was supposed to shock people, then I'm not one of them. Given that the narrator seems to play no role in the film for more than half of its run, and only served to provide conniving expository dialogue whenever she was heard, the reveal that we were listening to Aurora all along suffers from what most of this film does: it falls flat.

C-

The Good:

+ Angelina Jolie was made for this role.

+ Some nice, if mostly unoriginal fantasy spectacles to be seen.

+ Arbitrary battle scene for those who like arbitrary battle scenes.

The Bad:

- No one else can match Angelina Jolie.

- Many important and interesting plot points & characters were neutered for whatever reason (such as the huge importance the three faeries played in the original).

- That twist...

- Arbitrary battle scene, not for those who dislike arbitrary battle scenes or for those who feel they don't need to be in every damn movie, especially those of fantasy.

- Prince Phillip doesn't need to be here, given the twist, and the utter lack of character development How a 60-plus animated film got this right is beyond me.

- The Kingdom disposes of all known knitting wheels and sets fire to them. Somehow, after about sixteen years, they're still there, waiting for Aurora to touch them.

- Nothing special about the casting choices.

- You might actually feel bad for Stefan dying. I mean, he was driven a bit crazy by the hyperbolic reaction to his well-intended betrayal that Maleficent was exhibiting. Let's see: severing the wings of the one you considered a good friend to guarantee her safety even though you never end up admitting this to her, versus Maleficent cursing your only daughter to prick her finger on a knitting wheel to fall into a death-like sleep forever. Yeah I would side with Stefan on this one.

-  Maleficent does not turn into a dragon.

- Very unoriginal and steals a lot from many other fantasy stories & films. Avatar & The Lord of the Rings come to mind.

Word of Mouth #16: El-P + Killer Mike - RTJ2

Download the entire album for FREE by signing up for their official newsletter.

The storytelling antics of El-P complemented by the clever wordplay of Killer Mike returns for a free sequel. 

So it is free, and you have probably yet to download it. Yeah, it's quite a trade-off to sign up for their newsletter, but this album is free so enjoy it freely.

No more failed wordplay; listen to it!

Word of Mouth #15: Keep - Hypnosis For Sleep

This is a self-release, dated July 22, 2014.

More shoegazing! It's also a perfect (in my opinion, anyway) blending of shoegazing with ambient. Just listen to the opener to get what I'm saying.

At $1 a track, you can't go wrong. Releases like these are why BandCamp is a great venue for quality tunes. I'm digging the vocals here especially; they're both mellow and melodic, helping to generate a vibe I've thus far felt in only few genres of music. 

Support these guys if you like what they have to share. And take a look at their official motif while you're at it!

The Sudden Necessity for Bill O'Reilly's Immediate Retirement

While many of his critics would argue that he's lost the plot ages ago, I think if there's any event that would cement him as a bonafide crazy would be his recent call on the government to hire 25,000 mercenaries to kill Islamic terrorists. Of course, that would start with ISIS.

It's not enough that audiences of news media, especially Fox (although that's par the course for those chickenhawks), are constantly being constantly brow-beaten with the notion that an all-out war on ISIS is necessary. However, these outlets ignore the majority opinion that the people don't want war on the battlefield again. The 'war' on terror commenced in 2003 will go down in the history books as one of the biggest flukes carried out by the U.S. Military. Now the loudmouths in the media want another battle.

Of course, none of them will ever set foot on a battlefield themselves.

That includes Bill O'Reilly, a long-time chickenhawk who has never served in the military, never served even a term in the Senate or Congress, and hasn't even mustered a short-term political career. He's a talking head spewing bullshit on a news network, and that's all he will be until he retires. In spite of his covering "four wars with a pen", to quote the old man himself, he has never actually set foot on a battlefield in his life and thus is not intimately aware of the pain of war.

Papa Bear is a stubborn man, and, as is evident in the following, quite senile and probably demented at that. Because he feels that the building coalition against ISIS isn't efficient or bloodthirsty enough for his tastes, let alone in defiance of international ethics, his solution is simple: get the Federal government to hire a militia of 25,000 well-paid, well-armed mercenaries. You know, it's only to do the bidding of the army, the same one that the U.S. President is unwilling to send more people to die for a cause in spite that, so far at least, it has had no effect on anyone inside of the United States. Here is a video wherein he puts forth this "solution":



O'Reilly seems absolutely unaware of the myriad of problems posed by the very idea he's pimping on his show. The human rights violations that would occur, the inconsistency of actual service, lack of actual oversight, "English speakers" being unable to understand those who could be their allies, the fact that this conflict could last for years before seeing any resolve, and many other problems. If you want to just tackle the financial problem with this dastardly idea, here it is: if you pay each mercenary $100,000 a year, and you hire up to the capacity O'Reilly called for, that would amount to $2.5 billion a year. That doesn't take into account logistics, training, medical, armament, off-site intelligence & planning, and others.

Hell, he doesn't even consider that mercenaries are definitely "in it for the money", who disregard the how and the why they do what they do to make their paychecks. This isn't a fucking movie or videogame, Bill, it's real life. And if you want money to be the deciding factor in whether things get done, then you're going into insane territory.

Such people as Paul Eaton, a retired U.S. Army major general, Jamie Barnett, a former U.S. Navy rear admiral,Dennis Laich, a 35-year military veteran & retired U.S. Army major general, and even O'Reilly's (usual) butt-buddy Charles Krauthammer called him out on it. Here is what Krauthammer said to O'Reilly in response to the outlandish idea:

With that idea, you have gone from 'out of the box' to 'off the wall.' You want to create a French Foreign Legion, but we are not the French Empire policing West Africa in the 19th century. Do you really want to be responsible for a band of desperados? On one hand you'll have ISIS people who believe in something, and on the other hand you'll have people who are there just for the money. Who do you think wins?

He hasn't stopped there, though. Since then he has said "only dumb people like Stephen Colbert oppose anti-terror mercenary army idea." And here is the tip of the day in which he stupidly promotes his mercenary idea, acting like he never received criticism from military veterans and experts:



Oh, get off it, old man. You've not only gone off the wall, you've gone flying off the edge of the top of the grand canyon. Your idea is problematic in so many ways they number in, at the very least, the double digits. You have no military training nor expertise whatsoever; you've never experienced the terrors of war for yourself, you've never served, and you never will given that you're a senile old man, and you clearly hold little regard for the men & women who do serve. To you it's about beating your chest, flashing your penis out of insecurity, and saying "I have the biggest, best dick in the world!" No one is fooled except for the drooling idiots who voted on your non-scientific poll, that is unless there is something shady with the results (given Fox's history of blatantly reversing poll results that appear on air to paint an opposing picture, it's likely).

You've put your foot in your mouth, you want your country to violate international law, and you want people to die. You want your country to pay billions, at the very least in wages, to fulfill your sick fantasy, in spite of your arguing over & over on your show that the U.S. cannot afford anything. You're a hawk with towering cowardice, your idea is entirely unethical, and given that you should be informing people with objective information rather than yelling talking points, you should be fired. This is the straw that broke the camel's back, and it's high time that you're sacked -- before you get another person killed for petty or immoral reasons.

Word of Mouth #14: Deafheaven - From the Kettle Onto the Coil

This is a self-release, dated August 25, 2014.

It's Deafheaven time, again. I came across this one yesterday whilst browsing through various tags on bandcamp. Always one to add another album or two each payday (with mayhaps another should I be so inclined), I checked this release out.

Well, I'm not exactly a black metal fan and I knew getting into Deafheaven that the aforementioned genre was a facet of their overall sound. However, and it is not a demerit against the band or anything, but they've kicked up the black metal a notch. Suffice to say, this is probably the heaviest song you'll have heard from them yet. They've always been known for the signature shrieking vocals for sure, but for this track they've thrown in growls as well. At the offset the song is absolutely teeming with blastbeats complemented by fast but melodic riffing. Then it tapers off the usual Deafheaven way, to elicit emotion and get you thinking about what you're listening to. You don't know what the fuck George Clarke (the vocalist & lyricist) is saying but god damn it, you know he is putting all of his heart & soul into it.

Anyway, with the slight change in format specifically for these posts (will only apply for material I can embed here), I think this post at least should look clearer. And to get back on topic, check out the album and buy it. It's only a dollar. You were probably going to buy a disgusting Twinkie with that dollar anyway, so what do you have to lose? Well, unlimited play of another piece of Deafheaven, that's what.