Content to present a string of clear-the-room quests, a bizarrely complicated weapon-leveling system, and slavish adherence to the worst aspects of the genre.
Far from the extreme sounds of Hypocrisy’s Peter Tägtgren’s day-to-day, Pain is a toweringly poppy and melody-filled slice of polished industrial rock.
Also-rans from the light gun’s mid-’90’s heyday. They’re faithful recreations of arcade games known more for unwieldy plastic cannons than for their gameplay.
Not a bucket list RPG like a Final Fantasy or Zelda, but it doesn’t carry the rigid expectations or sequel fatigue, so it’s free to carve its own unique path.
A record that smashes conventions and just rocks out. Not Sunset Strip “rocking out,” but more groove-based than one would realistically expect from the genre.
As you guide Vito Scaletta from small-time thief through the mob underworld, the seasons, color palette, and even the weather change to shape the mood.
Nothing sounds labored or painstakingly tweaked, just lively and aggressive. It’s an enviable trait, to sound like you just plugged in and went with it.
I thought the new Exodus record would be unmatched in 2010 for pure, condensed hatred, but Goner has it beat by a mile. It’s gnarly, ugly, and ferocious.
There are children with monkey tails flying around on clouds who get shot down by rocket launchers. One must find the time to jump into this bizarre world.