Shark

Yet another Rammstein Video! Haifisch! Another ecstatic review! Commence!

Of course, you'll need to see it. Here is a link, but depending on the country in which you reside, you may not be able to see it. Partial world banning. Fun! (Side note: It is odd that they used Myspace. Maybe it's still big outside of the US.)

The song, which reminds me a bit of earlier The Clash, is itself based loosely on a verse of the song Die Moritat von Mackie Messer, known more commonly as Mack the Knife. Instead of having teeth, the shark has tears, which seems to imply that even monster-ish murder machines can have sensitive feelings. The actual verses to the song tell a story of solidarity and fellowship among the band mates. Keeping that in mind, we turn to the video.

This is another Rammstein video which tells a story, rather than an abstract collection of scenes or 0f them simply playing their respective instruments. In it, Till Lindemann, the vocalist, has apparently died. As the video progresses, we learn of opportunities each band member has had to murder him, or ways they actually did murder him. It's a little unclear. The average Rammstein fan will notice that these murder scenes are from previous Rammstein videos. Without Till, the band starts to fall apart and hate each other. It's actually quite arrogant and aggrandizing, but I love it all the same.

Of course, it's not Rammstein without something disturbing and/or wrong in the video. There's enough of that to garner attention, but what grabbed my eye a couple of times were Rammstein's winks at other popular metal acts. Marilyn Manson is in attendance at the funeral, and James Hetfield of Metallica sent a postcard or something.

Summarily, it's an engrossing video, and it takes a few views to try and get all of it. The hate that surfaces at the death of a friend is an actual reaction that has occurred at funerals, I understand. Watch the video, and then for fun, watch all the others, and see if you can figure out from which the reworked scenes came!

-The0

I Hurt You

Rammstein has released their second video from the new album, Liebe ist für Alle Da. They chose the track Ich Tu Dir Weh, a powerful, driving song about, well, various sado-masochistic acts. It's one of may favorite of many songs on the album, and while it's not my first choice for a video from this album, it's a welcome addition to the visual library.

The Video!!!

At first view, it makes me swell with pride. My first concert was seeing Rammstein, on their Mutter World Tour from 2001 to 2002. The excitement, the smoke, the fear of being hurt, and the love of going deaf. When they took the stage, they were dressed in a full motif from their album, and of the flames went into their set. They were more pyrotechnics than Independence Day, more people sharing a unified love than there were in college, and I had more fun, in my sweaty singed t-shirt then than I have had in a long while.

This video woke up distinct memories of that very show. This video is a fantastic image of Rammstein. Spiky, flame-broiled, active, and in love the the heaviness of their art. Of course, this is the idea of industrial. Note the massive machinery, churning with the metal of the guitars. The electronic sparks as the synths plays. The activity of the band members as the play. Lastly the lighting effects out of Till's mouth was an especially nice touch. Enlightening us with hurtful words.

This is all a very impressive display, as it only took them 3 months to kick this video out, and they're all (still) pushing 50 years old. This is what I love about this group, and what I imagine and envision think out every time I hear good industrial music.

God I hope they come back to America, just one last time.

-The0

Left 4 Dead 2: Electric Boogaloo

So, I have put in a good number of hours into the new Left 4 Dead, and I have a serious conclusion regarding its performance.

This game kicks ASS!!!

Now don't get me wrong, it can be damn annoying to try and get and get onto a car ferry and dying 3 times after a minute, and it can be much more difficult to simply reach the end zone, but VALVe has done a magnificent job of mixing things up and keeping a good idea fresh. With the new infected, you have to stay on your toes, and monitor your teammates a lot more. The level design is fantastic as well, and you never feel like you're simply running around in a system of arbitrary tubes.

My least favorite of the new infected is the Spitter. Here I am, I've just healed up, and we're progressing nicely, when all of a sudden I'm swimming in this green goo, and I'm losing health like I just fucked a lawnmower. It's almost as bad as startling a Witch, and it's especially bad when you're trying to get out of the goo and you're surrounded by zombies. I guess they're finally getting back at me for all those molotovs.

Of the levels, my new favorite is Hard Rain. For this level, you're running to get more fuel for an escape from your previous campaign. All these linear based maps actually link up, and it's very impressive how they segue into each other. Hard Rain isn't linear though. It's circular and dynamic! You have to run to the end, grab the fuel, and run back, only this time, the whole place is flooded from the rain. During the 4th chapter, the weather changes a lot, going from heavy rain to torrential flood. This summons the horde, and makes it impossible to hear your teammates. Awesome.

The characters are easily attached to as well. Of course, everyone went clamoring for the George Clooney-esque Nick character, and following my tradition, I tried to stick with a female character, Rochelle (I have my reasons.) Coach reminds me of Hank Hill in a weird way. My current favorite is Ellis. His ability to yammer on in a situation of extreme duress is a metaphor of how I think I interact with new people.

I usually get frustrated at new games, but this one is growing on me nicely. The replay value is astounding, and there are all these new game modes that I have yet to try. A great step forward for VALVe. That stated:

LET'S SEE SOME DAMN HALF-LIFE ALREADY!!! (please.)

-The0

Love Is For Everyone

Wer wartet mit Besonnenheit
der wird belohnt zur rechten Zeit
Nun, das Warten hat ein Ende
Leiht euer Ohr einer Legende

~Rammstein, Rammleid

They're back, ladies and gentlemen, and though this first verse off their latest album is self-aggrandizing, for this fan, it's true. The wait is over today, and the legend returns.

At first listen, it seems unrecognizable, yet familiar. Some say that Rammstein has joined the mainstream and started to simply make homogeneous metal. I would say that this is not the case, as they still have every element that made me like them from every album previous. Massive sound, heavy distortion of very melodic patterns, driving songs (mostly, more on that later), and above it all, Till Lindemann's grinding and operatic vocals.

Most of the songs from this album have a clearly recognized melody, but others are much harder, literally and musically. Yet, if you sit through long enough, listen to the lyrics (do some translating while you're at it) you'll find yourself on a beautiful, embracing bridge or chorus. It's true of almost every song they've put out. Which brings me to the the next point of happiness for me.

In previous albums, occasionally Rammstein will make a song referencing some horrible act of society or person, be it real or fictional. The last one on Rosenrot was about a guy who was cheered into jumping off of a bridge (which strangely doesn't need an exact reference. It seems to happen every once in a while). This time, it's Wiener Blut (Viennese Blood), a creepy, frightening recounting of the recent Fritzl case. No real melody here, just guitars, synths, and a psychopathic German man telling you an emotional ghost story.

The title track Liebe ist für Alle Da is a more worldly sound for metal. Translated it means "Love is for Everyone." A hammering song, it still has the aforementioned melody somewhere in there. The main reason I bring this up is because with Rammstein, and on this album especially, nothing is as simple as it sounds. They flip around common German idioms, make divine cultural references behind your back, and trick you into thinking you're going to be in one mood, but put you in another. Further explanation will require you to listen to the song first.

And on that note, the dark tone of this album is occasionally put to the side. The extended edition of this release has roughly 4 ballads on it. It's a little maddening, but on the whole, well, I do enjoy falling sleeping to metal. I never knew Till Lindemann could sing such lovely French. A couple of these songs are of the special (read: slightly saddening) kind where the song is exactly the same, but the lyrics are different. Oh well. You only get to enjoy that if you bought the extended edition.

In summation, Ramming Stone's latest album is a very welcome and long overdue addition to my Rammstein library. Not every song appealed at first listen, but many of them grew on me very quickly. Songs to buy this album for are Ich Tut Dir Weh, Haifisch, Pussy, and if they're your taste, Rammlied and B********. Songs that will quickly grow on you are Liebe ist für Alle Da, Waidmann's Heil, and Frühling in Paris (again, if it's your style.) This isn't their greatest album, but it's good, and well worth my purchase.

SEO Purposes: My fellow fans and pattern-watchers may appreciate this: 916139, 9 1 6 1 3 9, Rammstein.

Questions, Comments? Please feel free to comment, and leave questions!

Rock On!!!!

-The0

Half-Life 2, An exospective retrospect

As far as games are concerned in my eyes, Half-Life 2 redefined the way we play. Hell, games are designed differently simply because of the innovations set forth in Half-Life, and Half-Life 2 did more to "raise the bar" than any game sequel to date. If I may rant...

Simply in terms of engine advancement, quality jumped. Renderings were as close to photo-realistic as we had seen to date, even with Doom 3 being on the shelves. The fact that you could pick items up and force them to interact physically with other items in the world provided hours of distracting (and then useful) entertainment. Throwing a can at the metrocops turned out to be as much fun as being submissive and throwing it away like they had demanded. This is so mesmerizing that you nearly forget to notice the world into which you have suddenly been forced.

When last we left our hero, he was sweltering through Black Mesa, NM and then some creepy world called Xen. Now, he's in war-worn Eastern Europe, presumably again "working" for the ever-mysterious G-Man. You fight through cordoned city streets, filthy barnacle-laden sewers, along septic routes and dams, and even a zombie infested old mining town. Additionally you get to drive to your location in some parts, which brings up an important clue if you're a good critical thinker. You're driving along the coast, checking out piers and docks that are a good ten to twenty feet above above the surface of the water. I didn't notice it at first, but then I thought about how the hell anyone is going to get in or out of a boat which is floating 20 feet below them? It begs some thought.

The fact that I didn't have to stop and think about it was actually a property of the new game play "feel." I guess that due to the fact that computing resources were less limited (or something, I realize how flawed that statement is), the developers were able to cram more stuff into maps. It wasn't an obligation to explore every little nook and/or cranny. Along Highway 17, you hardly had to stop for anything you couldn't drive around. This can make it an easier or tougher play for you is the thing, so it balances nicely.

Creature design had progressed significantly, but aside from variations to old favorites, the most significant enemy you battle is your own kind. Humans who have turned to "combine" with the Combine, who have apparently been working in the shadows since Half-Life. Xen, your final highland in Half-Life, turned out to merely be a teleportation transfer point for a much bigger problem. Your role in fighting baddies scrolls from random remotely controlled monsters to your own remotely controlled species. It's not as shocking as it should be, but damn if when walking into City 17, I didn't feel a sense of 1984.

Characters actually come to support the meaning of the word in Half-Life 2. Your "spunky" sidekick Alyx is not only a helpful story vehicle, she's genuinely speaking. She peers, looks, smile, raises her eyebrows, and furrows her brow. Arguments between NPCs, while a little corny, were mind-blowing at the time. With a couple of welcome familiar faces, and some unwelcome but powerful allies, you learn very quickly not to try and horribly mutilate everything you come across.

If Half-Life is the greatest game of all time, Half-Life 2 is the greatest sequel of all time. I look heavily forward to a ground shattering Half-Life 3, if VALVe can get it out before they all decide to retire.

-The0