Lazorinc

Defi - Kuulolla on cool olla (4/10)

Perfectly ok Twitch brb music with Polish (?) rap. Every track I was enticed by the blend of classical instrument samples and then frustrated at hearing the saltwater gargle flow that immediately followed. Currently looking for instrumentals.

Give tribute to America’s first true economist, to the precedent that gives us our daily lives, and to the fire and opportunity that gives us the strength to challenge that power every single day without fear. I love my country, that will not change.

Any dullard complaint of “Jefferson wasn’t black” is an admittance that this show has dominated you, and I will take a thousand discarded racial accuracies if it means communicating our proud heritage’s highlights to those willing to listen.

I had the privilege to study Hamilton’s lighting and stage design in university and I look back at the actual fucking ignorance I was cursed with back then with an upturned nose. The way the lights split the world in half, chill the nights, show souls leaving men’s bodies. Nothing short of inspired.

Obviously the music is divine, infectious, and composed like it was written for an actual king. The direction of actors and practical set melds every scene into something grander than the props. The lighting, oh my good god bless America the lighting.

It shows the price of identity, with the number of duels in the production that either kill people or put the victor under duress and a need for change. It’s so important that Hamilton rats out his own affair just to make good with the nation, ironically making a huge point on commitment.

The story is already set in stone from our history and yet it is tailored to show that desire incurs cost, on the scale of Alexander Hamilton smoldering his life in his studies, and on the scale of thousands dying in the American Revolution.

Hamilton puts the founding father’s life through a lens that wants to do nothing but be proud of who we are, where we’ve come from, how we believe so strongly that we are ready to die for our ideals, and ultimately how we know that every moment is something worth cherishing.

Hamilton (2020) (10/10)

People that are excessively unpatriotic do so because they assign this country’s identity to a visible mass that wants them to do exactly that, to keep the dissent loud and allow them to pick up the pieces. There is so much more than admin, and so much better than the chaos.

Ternion Sound - Digital Artifice (7/10)

100% worth stomaching the UK drill to get to some solely unique sound design, and even the songs with fungal features have some really infectious rhythms to them if you can let go and just feel out the music. Also, Artifice blows me away in this state.

I can easily set these aside though for just how good the game makes me feel, something I struggle to find in an ever tightening world. The Doom Slayer breaks through yet again, and I anticipate a wave of shitty indie shooters where you play a heavy guy that blocks.

The music is completely serviceable but unmemorable for a franchise chapter that was defined by how it raised the earth beneath its feet with the 2016 and Eternal soundtracks (pay Mick Gordon, Marty, you hooker choking scumbag).

The only reason it's not perfect is because, once again, gameplay is atlas holding up the entire world. Storytelling is at an all time low, with characters not having as much as basic wants or goals and overall being written like props for the Doom Slayer movie

I just realized in the middle of writing this that the Dreadmace has the upgrade for two swings in succession and that kills cybers instantly.

YOU CAN TWO-SHOT CYBERDEMONS AGAIN ID I KNEEL.

Melee feels fucking great to use as a followup to a well executed plan, and so much of it is very easy to feel out so that you know what will kill in the moment. Almost nothing about the fighting is guesswork, especially with your stronger options.

Dreadmace we love you.

Movement is fantastic with the shieldbash gimmick, the power behind your actions is thunderous, the combat will frequently encourage you towards one weapon but will not excessively punish you for using something else, and the interactions oh my god they nailed the interactions.

Doom: The Dark Ages (9/10)

As close to the classics as this franchise has gotten, even closer than 2016 I'd argue. The weight of your position, the treating of enemies as masses, the commitment to your current weapon, the bullet hell, id really nailed the combat this time after Eternal.

It got bittersweet near the end since the last season was the dissolution of Noisia and coronavirus struck around the same time, and I won't pretend that there wasn't some hot ass that got dropped on me one in every thirty tracks or so, but it's filled my playlist to almost a thousand.

Noisia Radio (Seasons 1 - 6) (8/10)

This radio show has been something I've chipped away at for years and years, and it has introduced me to incredible music. I felt like I got to live in those glorious years of electronic music that I missed out on.

Words fail, thoughts fail worse, I can only violently point through the pane and shout "look, look at who he is".

Easiest $7.50 of my life.

Ride the High of the Gun, Contritum Opus, Sugar and Spice, Hydra, Stars and Stars and Stars, Grove of Opal, Orbit, They Weep, Requisite Story, I could fill multiple posts with songs off this project that floor me.

I don't think there's a single moment in this project that isn't completely honest, outright indecently revealing. It could have stopped at Layer 6 and remained flawless, but Phi just had more to say and more to be.

The Artifex/Downstream - Outside Inward (Seeing Faces) (10/10)

Unshackled, uncompromising, genuine, impossible.

Stringing words together to describe this is like asking for shooting stars to trail each other.

Exasperating, all-encompassing, bare

Fuck I forgot the actual rating

(3/10)

It clutched up in a couple of the piano ballads, and, again, sucker for a happy ending, but this feels like a story that shouldn’t be mixtaped, but honestly expressed. Otherwise, the presentation is so botched that you risk association with the forces that look to destroy you.

It just so happens that the execution and follow through tacitly associates trans identity with the tropes of a genre about brains in disarray and a distortion of perception, which, yeah, that’s a sharp inhale through my teeth.

The music itself is another tuning in to We Are Eternal in granular texture and beatbox style rhythmic pulsing of sounds that shouldn’t, but the music was never really the point. One Day After Another is clearly a well earned vent piece that looks to rage at an archaic governing of our world.

All of these are presented in a propagandistic hard isolation that cuts away the music in most cases to bring home how REAL these headass takes are in the scope of the very explicit narrative (another fucking audible EKG, the idea of “the protagonist” in these records is so fucking bad)

In the project about gender dysphoria and the distorted lens which society views trans people, there are samples from:

-Bernie Sanders saying the economy is bad
-Ben Shapiro epically owning the libtards or whatever
-The Mothergoddamnfucking 4chan “ywnbaw” copypasta underlying a screeching pitch