I'm still, honestly, surprised at how long the current Electronic Club Scene has managed to stay relevant. It was only around 6 or so years ago where the very people that are claiming themselves as 'ravers' were rejecting electronic music's validity- emphasising how synthetic the sounds were. Now those synthetic sounds are everywhere. I thought the current wave would bring out the best that electronic music had to offer before its decline in the 90s but all it did was bring out the worst of it: the narcissistic Rock-stardom of the obnoxious club Jockey with the unnecessarily giant set, the over-digitised-and-over-mastered stock sounds lacking tact or rhythmic freshness or subtlety, and the commercial label that is 'E.D.M.' I think this is, primarily, where this set comes from. Made of sounds I've come to find and collect beneath the Beatport-controlled stream- this set puts together what I think is, probably, the proper way to 'Rave'- made for people who understand the term and know it from their assholes. A quick set made devoid of your traditional equipment, software, keys, beat-matching or any of the other needless performance nonsense your DJs will bullshit you to believe. This set was quickly improvised on Ableton Live 8 using an APC40 with few return effects and goes out to those who enjoy the sonic power over average anal retentive boring cookie-dough-cutter sets.
I'm pretty positive I'll lose the small fanbase I already have by saying this: I don't mind Emmure. I mean, we are going to be civil about this and rate the band solely based on their music and not on the dumb shithead antics of the actual band members (Wigger Extreme much?). Look at it this way, it's like listening to the spiritual legacy of Limp Bizkit. Even if they're not, at all, the most innovative or deep- their music serves simply as guilty pleasure. Something to blow hot steam up a girls skirt or show off your complete shitheadedness to. If you can't admit that then you, my friend, need to re-evaluate how you view music.
What're the chances of me reviewing two movies in a row that star Mark Webber? Technically he's not the lead in this film but his importance as a character persists (enough to warrant a mention, anyway). Tackling the collapse of American capitalist structure isn't much of an easy task, I'll give Dennis Hennelly, the director, that much. With movies like the Book of Eli and The Road associating large amounts of fear and violence into its very notion, it is strange to see a movie that goes down the opposite path. Not that this movie doesn't get under your skin at times... realism is still realism but is desperation so miserable?
I think I've figured out when you can call yourself a person that's been-there with films: you find that you've seen a small-scale foreign production but forgot about it. So was the case with a Thai movie called 13 Game Of Death. Not that I consider myself a film-aficionado any more- my days of watching 4-5 movies in a row are way behind me now that I'm fitted with cheap ray-ban knockoff stigmaspectacles. For the movie, however, I watched it during that time. A not-so-great but not-too-bad movie about some dude who gets involved in a voice-telling-you-to-do-shit-for-cash-through-cellphone game. The movie barely has enough of a good premise to keep it going for a movie that's barely spoken in english- let alone an American remake of a movie that's closely assembled like many cellphone thrillers before it. Sure, not many put together specifically in that particular manner but the characteristics are still there. Cellularhas a white dude running around for ages with a cellphone, 13 Tzameti (and its western counterpart 13) have the whole 'lot-of-money-is-waiting-for-you-upon-the-completion-of-this-fucked-up-challenge' plot. Sufficed to say that this isn't really that fresh of an idea.
So yeah...I'm just going to leave these Carmack Tracks that just popped up on my dash right here. I don't know how old they are but I do know they're still as killer as any other of his tracks. Do dis ryte naow.