Okay so this pretty much sounds like the coolest thing in the history of cool things.
We all know that The Walking Dead has become a pop culture staple now, for better or worse. Emerging as an obscure Image comic in the mid-00's to take over the graphic novel market, Robert Kirkman's excellent character-driven drama set in a zombie apocalypse has found millions of new comic readers. The AMC television show who's 3rd season is now in pre-production, broke television viewership records and has spear-headed a new fanbase of zombie fanatics (much like Twilight did for vampires, unfortunately). In comes 2 versions of board games, a video game for PS3 and 360 by Telltale games, a huge amount of merchandise, you name it.
It seems that with this year's San Diego Comic Con, AMC is doing something unprecedented and renting out an entire stadium (section) for a massive zombie apocalypse simulation.
The bad news is that you have to buy tickets, which are rather expensive, to experience this as a 'survivor' - meaning someone who actually goes through the obstacle course, avoiding encounters and such. (you can also take part as a zombie or a spectator, although details have yet to emerge for this). The good news is that this seems to be a HUGE 45 minute experience including a ton of obstacles, rope bridges, nets, slides, etc. You also, obviously, need to avoid the infected by any means necessary.
Now many of you might be reading this saying to yourself "this is the most ridiculous thing I've ever heard. If I wanted a ball pit I'd be eating my dinners at Chuck E Cheese. I'm not 12 years old, this is retarded, I'm too cool for school, etc etc etc." To any of you I would just have to say, get your panties out of your stuck-up ass and let yourself have some fun for once. One thing you can give Kirkman is that anything he's involved with has been quality - from the AMC show to even the video game, which is surprisingly good (I was expecting a movie adaptation game like many of the quick turnaround games that come out along with every single big blockbuster film). Since this is such a huge undertaking, I expect nothing less than awesome. Although the idea might seem a tad childish and cheesy right off the bat, I'm sure if you were standing there in front of the Walking Dead Experience in San Diego this July you'd be SO stoked to jump in.
check out the website thoroughly and tell me I'm wrong.
a new track went up today from the ice choir's new record shown above. the track is called 'teletrips' and has a similar, but cleaner vibe to kurt feldman's previous project, the depreciation guild. i feel the previous act had more of a deliberate 80s band feel, where this one has seemed to take a turn more towards the pop aspect of the similar decade rejuvenation. head over here to check out the new track. if you dig it, preorder their record over here. it drops july 31st. there's also a 'two rings' single you can pick up from iTunes with two tracks on it (the title track, and oddly, a track that shares the name with the group).
also, not sure why i hadn't mentioned it the other day. probably because i was busy covering my hands and face with the paint huffings of my new back-alley-bad addiction to the new silversun pickups record. BUT. the new daytrader record dropped tuesday as well. and it is a very, very strong showing from the band. i'd loved their EP last days of rome and their live performances had me subscribed. i was checked in, for sure. and now this release on rise records shows that they've got their feet planted and don't plan to depart anytime soon. below is the song 'letter to a former lover' which seems to be the song that has stuck with me the most, though the entire record recalls the vibe when pop-punk was starting to shape up a little bit, and before it took a really weird pac-sun, ball necklace, dyed blond messy hair turn.
this is the best record to be released this year, thus far. i'm blown away by it. i've not yet put a description or a reason to words yet. i'm still experiencing this album as an extremely biased fan. i think these are the best songs they've written as a band, though. whoa.
I was sent this record, one of the first actually sent to me with the intent to be reviewed in years. I at first was looking at it almost with a level of excitement, something about cracking back into something I’d grown accustomed to, an aesthetic that I sort of attempted to hone down to a stroke by stroke science. which then got me to the next phase of emotion about it: The Labor. there’s often a strange divide that occurs between what I enjoy with a casual ear and what I enjoy with my critical ear. and that weight can often feel unbearable, despite my knowledge that that divide exists. I ate the feeling, found some free time and threw this record on. I listened while my day was organically unfolding.
one thing that I can say about the first track, “Hand in Hand” is that I was singing the hook along with the track before it ended. I can stamp complete and utter quality on a song instantly if it can get this kind of grip on me. and it has the strange quality of getting me completely invested in the band’s intention and song writing ability if I see that they understand the value of a hook and how to craft a song around the power of just that. but there’s also something to be said for a song like “It’s Hard Sometimes” which consists of a very classic structure, and a very strong driving sound reminiscent of (I almost hesitate to say it) the beatles.
The Whiskey Violets have a very smart sound. they don’t overstep their allowance and exist almost exclusively in a contemporary and pop sound, but they flourish enough to let you see into their musical ability strengthened by their indie and 90s emo sound. there are some masked guitar bends and chord work reminiscent of the kinsellas to be found, most prevalently on the interlude of track six which doesn’t warrant itself a title in the track listing, but stands out as a banner to their capabilities.
this is a tough record not to enjoy. it takes no massive chances, but that isn’t to say it doesn’t pull from a very diverse and incredible spread of talent. what stands out most is jon nistal’s consistent, smooth vocals which do a lot more to serve the song than his ability has done in his previous projects (long islanders may remember chance of a lifetime or dakota grace). and with the growth of his range and application, it’s clear that this new project is one that’s got the most space and room for its wings to spread and take off into a more widespread audience. this record is pure quality.