2011 in Video Based Games

I began this year with a spreadsheet titled "OMG VIDJA GAME HYPE LIST" that never left my desktop. Every time a game came out that caught my interest, I'd add it to a row. When I got my hand son one, I colored it. By the end of the year, I only played 14 new games. So making this list wasn't the hardest thing in the world.

Honorable mentions go out to Bit.Trip Flux and Pixel Junk Shooter 2. I really love the crap out of them, but unfortunately had to cut them.

My 4th annual "Best game I played two years late" goes to AaaaaAAaaaAAAaaAAAAaAAAAA!!!: A Reckless Disregard for Gravity. I played the "For The Awesome" expansion a few months ago, and had a blast. But on to the present. Here is, my top ten ---

NUMBER TEN - L.A. NOIRE

Yeah, when this game made a wrong move, it fell HARD. There was some needless platforming, Cole's bipolar temper, and just about every desk has an unsatisfying ending. But when things worked, it provided some of the best in interactive storytelling. When a perp would run for it - when you knew you had some slimebag cornered in interrogation - when the case would branch off due to your actions or decisions… And dat face tech!

NUMBER NINE - STACKING

Best downloadable game of the year. Double Fine's most innovative title yet. Incredibly charming, and puzzles that exist in the world with seamless context. I never got bored of causing chaos in aristocratic Victorian society.

NUMBER EIGHT - BATMAN: ARKHAM CITY

I was really overwhelmed by this game's pace and depth, there was some diminishing returns, and it was not the Metroidvania Asylum was; but you're still The mother-fucking Bat, done the way only Rocksteady has accomplished. The quick fire gadgets make combat is even better this time, the plot takes some truly ballsy turns for a licensed property, and it does true justice to the world of Gotham.

NUMBER SEVEN - SHADOWS OF THE DAMNED

Suda51's take on American pulp horror is funny, ridiculous, and stylish as hell (HAH, YOU SEE WHAT I DID THERE?!). Shinji Mikami wrangles Suda's madness into a modern third person shooter that doesn't feel janky. Respected composer, Akira Yamaoka even joins in to add the cherry on top of this absolutely mad grindhouse adventure. Some of my favorite "oh mah gah, I can't believe they put this in a game!" moments came from this interactive road movie.

NUMBER SIX - UNCHARTED 3: DRAKE'S DECEPTION

More of the same? Yeah. More breathtaking environments. More top of the line voice acting. More "hoooooly shiiiiiit" action sequences. I'll take it.

NUMBER FIVE - LITTLE BIG PLANET 2

I pretty much only play LBP games for the campaign, so I guess I have a different perspective than most who believe its success lies in the community and creation tools. The new features and aesthetics of the campaign as i played it co-op won me over big. Every new environment felt more enjoyable than the last. Nothing else this year made me feel like a kid playing videogames for the first time.

NUMBER FOUR - GHOST TRICK: PHANTOM DETECTIVE

Halfway through the year, I thought it was strange when I considered Ghost Trick to be better than L.A. Noire. Now it only seems logical to be in my top 5. A plot and play style so unique its barely describable in words, and incredible animation for the DS. As expected from Shu Takumi (the mind behind the Ace Attorney series), there are a ton of memorable characters, and ludicrous twisting plot.

NUMBER THREE - EL SHADDAI: ASCENCION OF THE METATRON

So glad I started playing this before the end of the year. This most logic defying insane video game game I've played since Killer7. The combat and platforming are… ok, but it's all the crazy that surrounds it that shoots this game high up into this list. The level design has to be seen to believe, and the plot is nonsensical in all the right ways.

NUMBER TWO - DEUS EX: HUMAN REVOLUTION

Honestly, this and my no 1 are dead even. It just comes down to what you want. A open wide choose-your-own cyberpunk adventure with a few flaws, or a completely on rails amusement park ride. The original Deus Ex is something I've been happy to agree being "the best game ever", and this prequel lives up to the excitement and wonder I had playing that game ten years ago.

NUMBER ONE - PORTAL 2

This is the previously mentioned amusement park ride. A damn near perfect one! Only Valve can create a guided experience, and make it feel like it's still your decisions and discoveries that push things forward. All the while you're treated to the smartest and snappiest writing EVER in videogames. A dead even tie would have been my conclusion, but It's the co-op that pushed this to no 1. An entirely unique campaign that feels just as rewarding as the single player experience. Aside from being fun to play, this expansion on the Aperture Science Universe makes it one of this generation's most original creative properties.

the 6th annual random guy on the internet music awards!

Hello and happy new years! Time to get listing.

I did things a bit differently this year. Instead of cramming everything into a single post (one faulty line break or copy/paste, and the whole post gets fuckin crayzee!), I've made a singular post for each list. So this post is sort of like a hub, to the other lists.

Just click whatever link you want and you'll be taken to that list.

My favorite albums of 2001

Best of what I missed in 2010

Biggest Disappointments of the year

Best cover art

Best music videos

Best EPs

My favorite songs of 2011

My favorite albums of 2011

THERE ARE NO WORDS: My favorite music videos of 2011

NO WORDS REQUIRED: Best cover art of 2011

5)

4)

3)

2)

1)

NO POINT IN STOPPING NOW: My favorite albums of 2011

Alright, here we are. The top 5 on my list were dead easy to pick. The second half was an absolute nightmare. I'd pick out one bad thing about an album which left it just as faulty as 8 others. In the end, I just had to go with my feeling. So this is more like "my favorite 2011 albums of today, December 29." because I'll probably change my mind next week and say "dammit, Wild Flag and Deerhoof should have really been on here!" I just gotta post this before I change my mind again. If you've read all of these, thank you. They were fun to type up, but a bitch to edit and arrange.

NUMBER TEN

Peter Bjorn And John

Gimme Some

[Listen to: Dig A Little Deeper]

AGHHH, this was so hard to choose. As per every number ten, PB&J's return to simple guitar driven pop rock will be justified simply by some of whom it beat to get on this list. The Go! Team, Ancient Astronauts, and Laura Stevenson. AGHHHHH

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NUMBER NINE

Does it Offend You, Yeah?

Don't Say We Didn't Warn You

[Listen to: The Monkeys Are Coming]

I am so going to regret this years from now. I know I'm just picking it for the impulsive thrill, but I've been drugged too hard. These stupid songs have so much punch to them. This is the most fun album of the year, if you're cool with a bit of weirdness.

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NUMBER EIGHT

Beastie Boys

Hot Sauce Committee Part Two

[Listen to: Here's A Little Something For Ya]

The Beasties do one better than making a greatest hits album, they take all of their beloved styles and put it through this tasty wacky 21st century synthesizer filter. I love the sounds on this album!

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NUMBER SEVEN

Polysics

Oh! No! It's Heavy Polysick!!!

[Listen to: Subliminal CHA-CHA-CHA]

I'm always way too hard on my favorite band. This probably deserves to be higher, but I can't tell where my criticism ends and bias begins for these guys. After a massive lineup change, they deliver one of their most innovate and fun albums, while still making their songs so weird / abrasive / crazy that everyone is alienated, except those who "get" it.

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NUMBER SIX

The Birthday

I'm Just A Dog

[Listen to: Horoscope]

Speaking of lineup changes, The Birthday had one so severe, it forced them to revamp their songwriting structure drastically. Fortunately Japan's other garage rock god, Chiba Yusuke is in the driver's seat. Not the best, but certainly the most rocking album of the year.

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NUMBER FIVE

Obits

Moody, Standard, And Poor

[Listen to: I Want Results]

Froberg and co make all the right tweaks to their retro garage rock outfit. These songs are tighter, grittier, and more powerful then their so-so 2009 debut.

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NUMBER FOUR

Towa Tei

Sunny

[Listen to: The Burning Plain]

This is the year I finally stop bitching that Shibuya-kei is dead. Towa Tei swoops out of nowhere to make THE BEST Shibuya-kei album I've ever heard. This 21st century pop retro-splosion is made even better with guest appearances by Miho Hatori, 2/3s of YMO, Cornelius, and more.

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NUMBER THREE

Battles

Gloss Drop

[Listen to: Futura]

After a potentially apocalyptic lineup departure (hmmm, I'm sensing a theme this year…), Battles returns without a single fuck given. Catchy hypnotizing instrumentals, and a dream of guest performers. The sheer talent and harmony these three guys submit is jaw dropping.

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NUMBER TWO

TV on The Radio

Nine Types of Light

[Listen to: You]

Love songs are such bullshit. At least that's what I used to think, until this album came along. This release hit me like a religious experience. I can't believe it's so low or even a no-show on just about every other list I've read this week. This isn't a personal niche for me. It's a 100% legit amazing album.

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NUMBER ONE

Bomb The Music Industry!

Vacation

[Listen to: Sick, Later.]

OK, this… this is a niche. Never has somebody put my own life (or, I assume, that of any aloof twenty-something) into perspective the way Jeff Rosenstock has. Usually soaked in 90's punk and ska riffs, this is a concept album with a steady surf-rock / Brian Wilson kind of structure. It's truthfully sad, charmingly sarcastic, and totally free!

A TRIBUTE TO THE EP: My 2011 favorites, let me show you them

This is the first time I've made a category for EPs. While they feature great songs now and then, I never know what to do when it comes to rating them. Also, these days I can't tell the difference between a single and EP (ex, Pontiacs Cold Finger Girl 4 track release), or sometimes EP and full length album (ex Africaemo's 9 track and 30+ minute, Power of The City). But there were a lot of EPs this year, and some really damn good ones in the last few months, so here we go...

NUMBER FIVE

チリヌルヲワカ

白穴

[Listen to: やまみちにて…]

Wow, never thought I'd hear from this band again! These guys still rock.

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NUMBER FOUR

†††

†

[Listen to: Op†ion]

It's not Team Sleep, but this Chino Moreno side project still has sweet electronic beats and great vocals. It sounds most like my favorite Deftones album, Saturday Night Wrist.

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NUMBER THREE

The Nighty Nite

Dimples

[Listen to: Dimes in Their Dimples]

Yo, it's John Congleton being John Congleton. I'm sad to see The Paper Chase go, but I hope he finds enough success in this to continue making the sickest and craziest horror songs.

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NUMBER TWO

Letting Up Despite Great Faults

Paper Crush

[Listen to: Sophia in Gold]

Really fell in love with this EP since reviewing it. It's just the right amount of them I want to hear for the sound they make.

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NUMBER ONE

Jens Lekman

An Argument WIth Myself

[Listen to: An Argument With Myself]

Jens nails the details and digressions of an everyday you and me so well. It's great to have him back.

Late To The Party: What I missed in 2010

Keeping track of even some of my favorite musicians outside of North America can be tricky. Also, when I get into a new band I'm never rushing to dive into their back catalogue and associated acts. Yeah, those are my crummy excuses for missing out on these quality releases last year.

NUMBER FIVE

Noun

Holy Hell

[Listen to: Pearly Gates]

I was too busy being wowed by Screaming Females last year to look into Melissa Paternoster's solo record. umm yeah, she knows how to write a kick-ass rock song.

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NUMBER FOUR

Sleigh Bells

Treats

[Listen to: AB Machines]

I have no idea how I missed these indie darlings of 2010. I've seen that album cover everywhere, and heard like half of this album in commercials through the whole year (and this one). I think this group is very overrated and kinda one-note, but I'm such a sucker for noise that I can hang with this.

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NUMBER THREE

4 Bonjour's Parties

Okapi Horn

[Listen to: Optical Song]

I keep missing this group when their material is new. They're basically made up entirely of support instruments sown together with fragile vocals. It's cute, charming, and when you least suspect it, overwhelming. On their second album here, they take their little subtle sounds and manage to swell into these big emotional numbers. Lots of variety on this, with an overall feeling of positivity and adventure.

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NUMBER TWO

Säkert!

Facit

[Listen to: Fredrik]

Annika Norlin is still being depressing, but Säkert! feels like a much more contextual fit for her. Very catchy, and the emotion of the songwriting is not lost in translation. Swedish pop is not dead!

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NUMBER ONE

Pontiacs

Galaxy Head Meeting

[Listen to: BPR (Live)]

Garage rock god, Kenichi Asai. Enough said.

IGNORE MEEEE: My biggest disappointments of 2011

editor's note * I hope this post isn't mistaken as a slamfest. Nothing is more played out than angry rants on the internet. These aren't the worst albums of 2011 by far. I most likely did not even hear the worst albums. These are just 5 albums that I expected more from. In the spirit of fairness, my chosen sample tracks are what I feel to be the best these albums have to offer.

NUMBER FIVE

Cymbals Eat Guitars

Lenses Alien

[Listen to: Keep Me Waiting]

Wow, what happened? I hate the changes this band has made to their songwriting. Lot of talent here, but some bad decisions on where to take their sounds.

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NUMBER FOUR

Maritime

Human Hearts

[Listen to: Annihilation Eyes]

I've concluded that their 2006 pop masterpiece, We, The Vehicles, was just a fluke. :(

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NUMBER THREE

Parts & Labor

Constant Future

[Listen to: Outnumbered]

This band does not pull off the epic ballad very well. They did it once or twice on their last album, and it was novel, but a whole album of it is just a total bore.

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NUMBER TWO

The Pains of Being Pure At Heart

Belong

[Listen to: Belong]

They live up their their stupid sappy name with this one. Way too much 80's cheese for this jaded bastard to bear.

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NUMBER ONE

Architecture in Helsinki

Moment Bends

[Listen to: Contact High]

OK, I take it back. This right here - I HATE this album. Never have I seen a band drop from unfiltered creative energy to uninspired lite FM garbage so quickly. This album is so bad I've often considered if it's part of some elaborate joke.

RETCON: My favorite albums today of ten years ago.

2001 was a breakthrough year for me discovering new music. I shipped off to college in the fall, met a lot of people, got to use cable speed internet, and got my hands on this application called Audiogalaxy. Man, I loved that service. It worked not so dissimilar to the torrents we know today (combining a web repository of portals to use with the P2P app). Anyway, I remember discovering The Mad Capsule Markets and The (International) Noise Conspiracy through it and thinking I was into the most next level shit, haha. I was out of my "three chords, punk and ska only, Final Destination." bubble, but not really finding a new home yet, so most of this list was still oblivious to me at the time.

NUMBER TEN

Ajico

深緑

[listen to: 深緑 (Live)]

Kenichi Asai's shortest lived and probably most overlooked project. UA on vocals breathes life into Benzie's slower songwriting style in a way never heard before or since.

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NUMBER NINE

Saves The Day

Stay What You Are

[listen to: Certain Tragedy]

I remember how hated this album was at the time. I always thought it opened up a whole new side of the band, without sacrificing any of Conely's macabre lyrics. This is their best album.

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NUMBER EIGHT

The Knife

[Listen to: Lasagna]

A rare combination of weirdness and beauty. Karin Dreijer's vocals are fascinating throughout every song. This is my favorite Knife album.

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NUMBER SEVEN

Buffalo Daughter

I

[Listen to: Discothèque Du Paradis]

The constantly evolving and experimenting krautrock, new wave, electro, whatever... I've lost count the amount of things this band has done. Bottom line is innovation, and I has a whole lot of it.

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NUMBER SIX

Loveage

Music To Make Love To Your Old Lady By

[Listen to: To Catch A Thief]

I love Dan The Automator. This is a ridiculously oversexed R&B album, but with songs good enough to be appreciated unironically.

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NUMBER FIVE

The (International) Noise Conspiracy

A New Morning, Changing Weather

[Listen to: Bigger Cages, Longer Chains]

Man, when I heard this album the first time, I thought this 60's revival mod-punk was the next big thing for sure. It kinda happened with The Hives, The Strokes, and a few others, but never for T(I)NC. Turns out Socialism is a tough thing to market. Who woulda thought?

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NUMBER FOUR

Rocket From The Crypt

Group Sounds

[Listen to: Return of The Liar]

Aging like a boss. Their classics are already behind them, but I think this is my favorite RFTC album. It's finally captures the kind of studio intensity they had only before managed to create in lo-fi recordings.

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NUMBER THREE

Gorillaz

[Listen to: Clint Eastwood]

When this album was released, it was HUUUGE. Sadly, I was still in my "all hip-hop related music is worthless" phase to enjoy it at the time for how smart, creative, and ambitious it was. A few years later, I finally figured out that whole hip-hop thing, and this album played a huge part in it.

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NUMBER TWO

Rx Bandits

Progress

[Listen to: Consequential Apathy]

Wow, ok. THE most influential album in my life. Before this, I was only just a ska dork. All songs gotta be fast and short. All should be played with real instruments and sound like they do live (fuck that computer studio shit). Not only did this album show me the value of creating a REAL studio album, with songs that flow into each other, and a general theme; it also showed me the value of experimenting and evolving. It's not Pink Floyd or anything, but taking the music that I listened to and saying "we can do a little more with this" opened my eyes like never before.

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NUMBER ONE

Ted Leo & The Pharmacists

The Tyranny of Distance

[Listen to: Timorous Me]

This one I caught a couple years later. I got into it just before Hearts of Oak. This was probably my first ever "indie" album. Like all of his stuff, Ted offers up a nice history lesson here. Let's just say I was listening to a lot of Elvis Costello after hearing this. This was what got me out of my punk rock bubble and more apperceive of a patient, well crafted song.

album of the week: 12.3

the telephones

Rock Kingdom

(2011)

why you'll love it: Less gimmicky than previous albums, more rock, short and sweet

why you'll hate it: Still just a guilty pleasure with bad singing and dumb party songs.

It's that time of year where I take a deep breath and look inwards at the dark corridors of my subconscious. Do I really like a another telephones album? A band that, by all logic, should have worn out their "lol disco" welcome long ago. Yet here we are, their fourth album, Rock Kingdom. Somehow, this band manages to stay within the bounds of my patience, despite an ever present high pitched delivery and an almost insulting lack of substance.

The path they were going down the last two albums would have been a dead end by now. Lately, the course has been louder and faster, but not really doing anything different. Okamoto's incoherent gibberish during breakdowns is entertaining at first, but would become adversely routine in time. This album stands out by being surprisingly toned down. There is no disco here, just power pop. I'm sure there are some fans grinding their teeth over this, but I gotta be honest, they never really were that disco in the first place. It's a cute thing to name drop, and a good excuse to be eccentric, but they've always been (and more so now) a dance punk band.

Without the constant references to disco (although there are still a couple), the telephones play things a bit more straightforward here. I get a sense that the songs are more for fun and less for laughs. The ballads are a lot better than they previously have been because the are less sapped with gimmick. I kinda like "Just One Victory". The lyrics and delivery are a lot better than usual too. Akira Ishige's Engrish is starting to wear off, but still (most likely unintentionally) applied to the right places. A few songs like "Yeah Yeah Yeah" and "Punk is Not Heavy Metal" are sort of clever and charming because of their simplicity. They remind me of old Mr. T Experience songs.

There are a couple surprises on this album too. Like the well paced "I Am Me", providing some proper epic builds and breakdowns without a shred of irony attached. The Americana pop closer, "Can't Stop Loving You", is probably the most enjoyable surprise.

Once again, I can't believe I've written so much about this dumb stupid "disco" band. But… they keep improving. They keep offering just enough for me to stay onboard. Just look at the cover. It's a ridiculous drawing of the band as if they are starring in a remake of The Warriors, or a new Streets of Rage game. It's stupid, but charming to the point where I actually did laugh aloud when I first saw it. If you have the patience for high vocals, and shallow pop, these guys still deliver a satisfying guilty pleasure.

whoops, I lied.

One more post about Bit.Trip:RUNNER! I love when Steam dishes out these superfical updates, because it's a good excuse to play this amazing game again.

album of the week: 12.2

Jens Lekman

An Argument With Myself

(2011)

why you'll love it: One of the smartest, funniest, and relatable songwriters today

why you'll hate it: "Songs about girls", only the first two songs are significant

It's been way too long since we've heard anything from Jens Lekman. I discovered his music after his last release, Night Falls Over Kortedala (2007) and became an instant fan. I can imagine the wait being even more unbearable for those who already were fans. I absolutely love the way this guy writes songs. Straight out of the same school as Jonathan Richman, Dr. Frank, Parry Gripp, etc... Jens has a limitless talent for putting the most clever and relatable perspective on normal life, dull days, awkwardness, and all the things most songwriters overlook in favor of more fantastic escapes from reality. In most cases, these topics favor relationships and romanticism, but it's handled in the most charming way possible.

Being an EP is the release's greatest flaw. I want more. "An Argument With Myself" is one of my favorite songs of the year. The lyrics are sharp and the island rhythm is catchy as all hell. It sort of sounds like a Talking Heads song. "Waiting For Kirsten" is another great example of Jens' talent to do so many things at once with his songs. He tells a very detailed story about a very specific time, place, and person; but makes it all very easy to follow and relate to in our own lives; and still makes the effort to have a memorable chorus and unique instrumentation. He doesn't get caught up in having a singular focus.

Those are pretty much the high marks of this EP. It almost feels like this is a double single, and the other tracks are just b-sides. "A Promise" and "New Directions" sound great, but I just get that b-side vibe from them. I would get that from the closing track, "So This Guy At My Office" as well, but it reminds again of my personal songwriting heroes of the past by writing a song about… pretty much nothing, and romanticizing it.

Hopefully this EP is just a taste of things to come soon, and not just a random "hey guys, remember me? I'm not dead." release. Jens hasn't lost a step over this four year absence.

$$$

This is an unsolicited recommendation to go buy Louie C.K.'s new self-produced and self-distributed stand-up special.

He has gone out of his way to explain the whole process on his website so that it's easy to understand and buy. He explains his honest reasons for why he distributed the special this way, and he immediate results of the sales so far. If you want to finally see some fair pricing for media, you probably should support this. I know "support the artist" stuff sounds silly coming from me, but there is no middle man here, no shilling, or bullshit. This goes strait to the source and at no sacrifice to the consumer. AKA - the way it should be.

Also, he's funny as fuck.

https://buy.louisck.net

album of the week: 12.1

Letting Up Despite Great Faults

Paper Crush

(2011)

why you'll love it: Amazing balance of fuzzy guitar/vocals, and beautiful synths

why you'll hate it: yet another shoegaze-dream pop band

This is a short EP, so I'll try to keep this review short. I can't do anything about this band's unbearably long name though. I don't care if that is a Blonde Redhead reference, that name is terrible. This is a pretty good EP though. Letting Up seems happy to fill the gap The Radio Dept left when they evolved from their Pet Grief era into more robust sounds.

This is heavy fuzz shoegaze with a whole lot of pretty computer beats woven in. I'd be down on this band for sounding so hopelessly romantic, but The Pains of Being Pure At Heart showed me a brand new level of irritating pop romanticism earlier this year. By comparison, this is a humble release. Also, it evades the trap Pains fell into of sounding too much like 80's retro pandering. Letting Up goes their own way, with a more distorted and edgier production, and a subtle background of 21st century bells & whistles.

This is no groundbreaking release, but Letting Up is doing well at what they're up to right now. There are some great beats in this EP. "Sophia in Gold" sticks with me, as do the driving guitar and drums in "Teenage Tide". It closes with a strong instrumental as well. This is good stuff. This release grew on me a lot quicker then their debut full length. Maybe it's because it's too short to wear it out its welcome, but I've been coming back to it frequently over the last few months.

a.

I just finished AaaaaAAaaaAAAaaAAAAaAAAAA!!! for the Awesome today, and had a crapload of fun with it. For The Awesome is the extended edition of 2009's , AaaaaAAaaaAAAaaAAAAaAAAAA!!! - A Reckless Disregard for Gravity, where you jump off buildings in first person and stunt your way to the destination.

This is one of the last unlockable bonus jumps of the game.

album of the week: 11.4

AFRICAEMO

Power of The City

(2011)

why you'll love it: high-energy, fast singing

why you'll hate it: annoying backup vocals, kinda predictable

Nearly anywhere else, Africaemo would stand out. Not in Japan, though. Their funk-rock approach would lead most people to draw comparisons to Mr. Bungle, or early Red Hot Chili Peppers. Since they are from Japan, and have a keyboard player, I only see them referred to as not Polysics, Vola, or the telephones. It's a real unfair comparison, because Africaemo doesn't seem to be trying to do the same thing as those bands. They're not as gimmicky, or easy to define. They have youthful energy, and Hiroshi Kishi sings at 100mph; but there seems to be a deliberate restraint, as if maybe staying out of that "race to the asylum" competition makes them stand out.

I can't tell if that restraint is a good or bad thing yet. Their 2010 debut, squatter, did not blow me away, but I saw a lot of potential in it. Power of The City doesn't build off that potential at all. These songs feel like they were written at around the same time. A quick youtube search finds performances of these songs dating back as far as 2008, so I guess they were. Newcomers to the band may get the same buzz I did last year, but I've experienced some diminishing returns with this release.

Although, production could be to blame as well. Structurally, "After The Millennium" gets a bit dark. "Cheers" and "Night Man" have strong crescendos. Unfortunately, thorough all of this, the mixing keeps everything at the same volume and depth. Some more variation in sound, and maybe some flow between tracks rather than hard stops would have made the experience more engaging. As high-speed as they can get, it's easy to peg them for what they are about halfway through, then begin to zone out .

I love this band's energy, and feel they get an unfair shake, but they don't leave me much to defend; aside from my personal preference to energetic music and a killer lyrical pace. Still waiting for that breakout moment, but until then, this band is pretty much only a quick fix. Good sugar rush music.

ki-yaaaa

This past week, Giant Bomb had a live Kinect marathon. Aside from the usual discovering how boring, limited, unresponsive, and uncreative the Kinect is, Self Defense Training Camp was definitely the highlight of the day.

album of the week: 11.3

Thomas Tantrum

Mad By Moonlight

(2011)

why you'll love it: cute, really nice sounding guitar

why you'll hate it: abandons the fresh and manic pace of the debut

Whenever a band promotes their upcoming release as "mature" or sort of discrediting their previous style, that is a sure-fire sign they're about to go wishy-washy mainstream. It's sad to say the once hyperactive and catchy Thomas Tantrum has done just that.

Megan Thomas is still singing about the same things (depression, insomnia...) she was on the first album, but being a lot less coy and quirky with it. It's sort of like how Hello Saferide took a more serious turn with her sophomore album. In this case, at least they're still trying to stay catchy. It's the unhinged vocal delivery and unpredictable shifts in pace that have been scrapped on this release. Basically all the things that made this band stand out.

Now they don't stand out. They're supermarket rock. As disappointing as that is... it's not terrible music. While I don't remember a moment of what I heard, I least I know it was ok while it was playing. I didn't want to turn it off, I can say that much. I know "Hey, it's not shit!" is no great praise, but I was absolutely certain this album would be shit. It's... passable. I'd just rather them sound like they did, and be criticized for sounding too much like Life Without Buildings every once and a while, than sound like this.

happy something

Here are three things this media blog writer is thankful for this year:

- I'm thankful Valve exists. There is an impressive amount of Steam titles on my mac. Valve also made Team Fortress 2 free to play this summer, which I have poured literally hundreds of hours into over the past six months. And Valve made not only possibly the best game of the year - Portal 2 - but the only laugh out loud funny game not to be about dick jokes.

- I'm thankful that Dexter hasn't jumped the shark yet. I actually am enjoying this current season quite a bit.

- I'm thankful that there have been a few albums this year that defied the odds, and turned out to be ok. Two turned out to be surprisingly awesome (Battles & Polysics), but I'm happy with a few that turned out to be not shit, such as The Get Up Kids, Destroyer, and the next review...

album of the week: 11.2

Destroyer

Kaputt

(2011)

why you'll love it: less snobby than most Destroyer albums. Chill music

why you'll hate it: weak jazz for boring people!

No excuses for this early 2011 release. I've been deliberately avoiding until I came across a low risk deal for it. Destroyer won me over in 2006 with Destroyer's Rubies. My attraction turned into impatience just as quickly with the release of Trouble in Dreams (2008). Dan Bejar's songwriting suddenly became predictably rote. His European quirks quickly turned to annoying affectations. This is coming from someone who likes The Mars Volta, and Animal Collective… Bejar sounds hella pretentious. Intentional or not, he sounds more like a character than a person at most times.

So why am I reviewing his 2011 release, Kaputt? I was promised a change in style. That style turned out to be… smooth jazz. This sounds like a damn Kenny G album. I feel like an old man when I listen to this. A rich old man, at least. Like I'm driving a Bentley at night. These are very well produced, long, deliberate, planned out songs. It's high quality work. Not, something I would call outstanding in any way though. I'm not gonna sit here and tell you how this… elevator music is a breakthrough release. But I'll tell you what; it solves most of the problems I've had with Destroyer.

These songs do away with a lot of Bejar's faux-European cliches. No more pointless "ba-daa-baaa-laaahh"s. There are still a few arbitrary name dropping of European nations and the occasional backhanded "uncultured American" remarks which seem to serve no purpose but to make himself or the listener seem smart. Only in the closing song does he fall into his old trappings, but that's excusable, I guess. The old fans deserve to have a bone thrown to them.

… Maybe I overthink Bajar's quirks too much, but regardless, that stuff that gets under my skin isn't found so often on Kaputt. It's just a nice album. It's vey good background music, aside from that lingering fear that it may turn you into a Michael Bolton fan.

Arkham City's fatal flaw

I finished the "really good, but at the same time not really as good" sequel to 2009's Arkham Asylum last week. Of all the small changes they made, one irked me the most...

The original game played like a Metroidvainia. It was a more condensed, but more detailed play area. The best part was that you could live the superhero fantasy of literally ridding the entire game of crime! When you beat a dude up, you never saw him again. In Arkham City, it's respawning enemies all over the place.

This loading screen lies! You don't lie to Batman, you swear to him! The same 4 dudes are in front of the Iceberg Lounge every single time. When all you want to do is look for the hidden items around the map, having to deal with gun weildling thugs every other block becomes a pain in the ass.

Rant over.