If “Drunks” is any indication, Americana/pop duo Johnnyswim has a thrilling new album, Georgica Pond, releasing on October 14th. The song begins with a gentle acoustic hum that builds slowly and organically into a rousing anthem. The harmonies are gorgeous and the background vocals grow into a stunning choral-like backdrop. It’s affecting and moving.
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Near what he didn’t know was the end of his life, iconic New German Cinema filmmaker Rainer Werner Fassbinder played a police detective in a near-future fascist utopia where everyone dresses in ‘80s New Wave/Punk duds and watches a TV marathon of contestants laughing like idiots. In the course of his investigations, Lt. Jansen shoots various people or throws them off buildings. These are recorded as “unexpected deaths” because society has no murders or suicides—on paper.
It’s a world officially devoid of crime except in the realm of fashion, and here we must mention Jansen’s unflattering leopard-print suit with red shirt and bolo tie, which he never takes off even in sleep. Less offensively, he’s a secret alcoholic, with a bottle hidden in a slot machine in his bizarrely appointed apartment because booze is illegal. So is lettuce, for unexplained reasons. Overweight and laconic to the point of telling everyone to avoid unnecessary remarks, our lieutenant becomes embroiled in impenetrable mysteries and conspiracies involving a media corporation and its mythical 31st floor.
Shaking hips and breaking hearts, Nashville singer/songwriter Becky Warren nails the immediacy of Saturday night revelry with “Dive Bar Sweetheart”, its toss ‘em back roadhouse groove introducing June, the female lead of her forthcoming solo debut, War Surplus. A story cycle revolving around the before and after effects of love during the Iraq war, “Dive Bar Sweetheart” marks June’s red carpet debut to Scott, the soon-to-be deployed soldier who will never be the same.
Adriane Pontecorvo: Five years after the White Stripes’ heartbreaking end, “City Lights” is a melancholy echo of what was. Jack White’s distinctive voice cracks over sparse, lovely guitar twangs, sounding like a late autumn chill. It’s a gem, but an unpolished one, beautiful for all its rough edges and the time it’s spent buried. Michel Gondry takes an intimate, minimalist approach to his surprise video, fitting for such a bare-bones song. A bittersweet hymn for fans of the White Stripes who need a real chance to mourn, and a simple, soothing acoustic piece no matter who you are. [9/10]
So, I did it. I finally managed to complete the 2010 classic horror game Amnesia (third times a charm, I guess). Knowing, as I did, that the game had multiple endings, though, I did that gamer thing. I reloaded the game’s final sequence two more times to also witness the game’s other two alternate endings.
My first playthrough resulted in what has been dubbed the “good ending”, my second completion was the game’s “neutral ending”, and finally I finished the game up with the “bad ending”. In particular, it was this ending, which fans call the bad ending, that gave me some pause. To me from both a narrative perspective and from a personal perspective, this “bad ending” seemed like the best ending possible. It seemed to me to be the most appropriate ending to the story of the amnesiac Daniel, ending the game with a conclusion that most clearly represented his final self realization and response to regaining his memory. In that ending, Daniel essentially destroys himself, allowing the shadow that has been hunting him throughout the game to catch up to him and kill him.
// Short Ends and Leader
"Rainer Werner Fassbinder is the whole show.READ the article