People have said that it’s hard to make a Superman game because he’s just too strong. How do you make fun combat or create any tension or excitement when your hero is literally invincible? In many of the reviews for the recent Godzilla game, I’ve been surprised by the assumption that making a Godzilla game should be easy. Fight a giant monster here, blow up a building there, and presto. Fun! Right?
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The original idea for the cover of Black Sabbath’s sixth album was a great one. The four members of the band were going to be dressed all in black suits, standing in front of full-length mirrors in a big, creepy corridor of an old castle with stained glass windows. According to drummer Bill Ward’s assistant Graham Wright, the image would be “reversed like a Magritte, so it was their image being sabotaged.” Something classy, foreboding, iconic. The cover photo that resulted was something completely, bizarrely, hilariously different.
When it comes to stories of drug-addled excess and lunacy, there is no shortage when it comes to Black Sabbath, from Geezer Butler being held back from leaping out a hotel window after someone spiked his drink with acid, to Tony Iommi standing in a recording studio naked banging his cross necklace on a guitar and putting it on Vol. 4 as the instrumental “F/X”. However, the Sabotage album cover story is a personal favorite.
As a fan of Guster since the late ‘90s, I’ve got a special place in my heart for the band. Their album Lost and Gone Forever remains their standout for me even as I have found gems on newer albums, like this year’s Evermotion the group’s first for Nettwerk. So when I they came around New York to perform at Summerstage in Central Park, I figured it would be an enjoyable show. And, despite the heat, it was.
I’ve been to listening to New Order for 30 years now, and I can say with complete confidence that this is the first New Order single in their storied history that brings nothing, absolutely nothing to the table. The band is on complete autopilot, playing a second-rate mid tempo jam that you’d expect from a lower-rung Arts & Crafts band. Sure, it’s brisk, and Gillian’s synths sound pretty, but they’ve gone to an overused well and have finally yielded nothing. The bass melody is an insult to Peter Hook, and as for Barney, he’s not restless at all. He sounds bored to tears. As am I. For its level of sheer disappointment, this is easily one of the worst singles I’ve heard all year.—ADRIEN BEGRAND [1/10]
Berlin trio Kadavar started off innocuously enough, first attracting attention from the stoner/retro-heavy rock crowd, but in 2013 their second album Abra Kadavar, followed by a series of revelatory performances in North America and Europe, established them as a true force to be reckoned with in hard rock and heavy metal. Their follow-up, the aptly-titled Berlin, places more emphasis on the rock ‘n’ roll side of their sound (as opposed to stoner metal) than ever before, echoing the filthy, gritty sounds of Detroit’s Stooges and MC5.