Sean Lemme

I started blogging as a way to lazily pass my high school senior project and somehow I've kept doing it for more than half my life

Buggin’ Out

Youth Lagoon – Wondrous Bughouse

As if I wasn’t hesitant enough already to write about music, a month-long detour into David Bowie basically cemented the fact that I wouldn’t be doing any music reviews from the first quarter of the year. That’s a shame, because I’ve actually listened to a few really great albums, and not all of them are MBV. So, in the hopes of avoiding another end of the year orgy of album posts, I thought I’d check in now. Or, at the very least, write about Wondrous Bughouse, the new Youth Lagoon album, because it is a real joy.

You guys tell me: is this psychedelic pop or dream pop? Genres are hard. If I were to describe Youth Lagoon’s sound, or at least Wondrous Bughouse‘s, I would use words like “dazzling,” “happy,” and maybe even crib one from the title – “wondrous.” I absolutely get good vibes from this album, the ones I’ve come to expect from bands like The Flaming Lips and Beach House, but not necessarily from some guy from Idaho… It just goes to show you, never count out the potatoest state.

I will say this album is the first in a long time that has me questioning track order. “Through Mind and Back” leads beautifully into what has to be the breakout song of the album, “Mute” but that is followed by “Attic Doctor,” a goofy song that totally kills the good thing he had going. Not that I don’t like “Attic Doctor” on its own, it’s just too much of a tonal shift for me. Is it weird that I gravitate so much toward comedy on TV and in movies, but I don’t really care for comedy music? I Wondrous Bughose why that is?

Favorite Tracks: “Mute,” “The Bath,” “Dropla”

The Next Day Never Knows

David Bowie – The Next Day

If there’s one thing in this damned crazy world of ours that I agree with John on, it’s that “The Stars (Are Out Tonight)” is an awesome song. Maybe one of the best David Bowie has ever done. That he can manage to put out a song like that, or an album like The Next Day after a decade without a single release continues to be amazing to me. It definitely makes me feel validated in spending the last month revisiting and meeting his entire catalog. But are we all caught up in the hype of Bowie finally coming back after all these years, or will The Next Day remain as a proud part of his legacy?

If anything, I consider this a validation of the last few Bowie albums. Tony Visconti is back as producer, and listening to all of his work in quick succession, The Next Day really does feel like a continuation of the work they did on Heathen and Reality. What that means is music that touches on Ziggy Stardust, The Thin White Duke, and The Berlin Trilogy easily and capably, with a keen awareness for contemporary tastes. Bowie’s done a lot, and his music at this point reflects the knowledge and experience he has playing the pop game.

That is a lot to say that The Next Day is expertly done, although far from innovative. There’s no underlying menace, groundbreaking production, or anything to that could possibly get in the way of this album feeling like a treat. A pleasant little treat. And that’s OK, right? What possibly could David Bowie have left to prove at this point? That last Radiohead album was innovative and I haven’t listened to The King of Limbs since 2011 because of that. My star rating here is an indicator of where I would place this album in the overall Bowie legacy, if I hadn’t just done that Retrospecticus, I probably would have given The Next Day a higher rating.

I’m really excited to not have to write about David Bowie anymore for a while, but I fear getting out of the habit of listening to his music every day will prove more difficult.

Favorite Tracks: “The Stars (Are Out Tonight),” “Where are We Now?” “Dancing Out in Space”

T3 54: Top 10 Remakes We’d Like to See

Hollywood sure loves a remake. I mean, it makes sense. Movies have to compete with YouTube, cable TV, on-demand, Netflix and God knows what tomorrow will have in store for our entertainment. So the filmmakers of the world have to leech onto anything we might possibly recognize. And sometimes, that doesn’t have to be a bad thing. Sometimes a movie has a good concept, maybe even a good script, but it just doesn’t work out. This week we talked about a bunch of movies just like that, that we believe deserve a second chance.

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Bowie Blowout: Sean’s Top 10

I guess I like David Bowie more than most people? Well, I can’t really speak to that. I can say with certainty I like his music more than Nancy, and most likely more than John or Colin, since they haven’t gone to the trouble of listening to all of his albums. Narrowing everything I’ve heard of his, both in my life and in the last month, down to just 10 songs was a daunting task. To make it a little easier, I disqualified any song that was already on Colin or John’s lists, but that only helped a little. Not that I disagree with their picks, there are just so many songs I like. I mean, there would have to be, to get me through 24 albums.

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Bon Voyage, Rock Band

As you may or may not know, this week, and today in particular, is noteworthy for one reason, and one reason only: Harmonix ceasing to put out Rock Band DLC. They’ve put out new songs for the franchise every week since November 2007, that’s over five years ago for those of you who are bad at estimating time periods, or 281 weeks for those of you that demand precision. We’re all (or at least three quarters of us) big fans of this series, and, though it had to happen and even we were beginning to run out of steam, it’s still hard to say goodbye.

Harmonix announced that the last song they’d put out would be “American Pie” during the last week, and after nothing but Rock Band Blitz rereleases for a while, it seemed like that would be the last original track the game would ever see. But they shocked the world, or more likely me and a couple other dudes, when they announced “American Pie” would be just one part of the “So Long Pack,” a collection of long songs which is the most eclectic and exciting DLC for the series in a while… Maybe ever.

Enough dicking around it, here are the songs:

  • Don McLean – “American Pie”
  • Neil Yong – “Cowgirl in the Sand”
  • Focus – “Hocus Pocus”
  • Television – “Marquee Moon”
  • Guns N’ Roses – “Paradise City”
  • Black Sabbath – “Warning”

This is awesome. I know John and I have always wanted “Hocus Pocus” in the game, and even though I wouldn’t particularly call it a long song, I’m glad it squeaked in there under the wire. Check out the trailer after the break!

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God Only Knows

Bioshock Infinite

Not that many games get people talking about their stories, and few receive as much hype and controversy as Bioshock Infinite. In all the noise of that discussion and analysis, not enough time is spent discussing the actual gameplay. Which is a shame, because I had enough fun playing Infinite to recommend it on its combat’s merits alone. This is a hell of a game, one that cannot live up to the impact of the first game in the series, but I still believe will be remembered as an amazing title that will keep those conversations fueled for years.

It’s 1912. You’re Booker DeWitt, a Pinkerton sent on a quest to retrieve a girl to wipe out his massive gambling debt. That girl is Elizabeth, who is trapped in Columbia, a flying city. Columbia was designed to embody the American dream, but as time went on it became more extreme and finally seceded from the Union. Now it floats over the Atlantic Ocean as a perversion of the American dream, where the founding fathers are worshiped as gods and prejudice is prevalent. Infinite‘s exploration of religion, nationalism, racism, and freedom is much more ambitious than the first Bioshock‘s singular focus on objectivism, and all the greater for it.

Everything isn’t as it seems in Columbia, or at least as you might think a floating city in 1912 might seem. Beyond the social, political, and theological issues you’ll encounter, there are also tears – pockets through space and time that appear throughout your adventure. It furthers the sense of how strange and out-of-place Columbia is, and understanding their nature is not necessarily a twist, but a slow, beautiful revelation that left my jaw on the floor. Settings in games are rarely this expansive and dense, and Columbia, especially with its anachronistic music, will surely stick in my mind for years to come.

Once Booker meets Elizabeth, she will be at his side for the majority of the game. Escort quests are just about everybody’s least favorite, and even good examples of this kind of thing, like Alyx from Half Life 2, pretty much just have the escorted get out of the way of the escortee. Elizabeth is better than that. She helps in combat, scrounging healing items and changing the environment using her metaphysical powers to rip things into reality through tears. While you’re exploring, she’ll look around too, interacting with things that amuse her, picking locks, and even pointing out things you should grab. It all goes a long way to create a sense of attachment to Elizabeth, to the point that it feels weird and crippling to not have her around.

Booker can handle himself, however. In traditional Bioshock fashion, he’s all about using a combination of weapons to win a fight. In his right hand, he has a variety of guns, from the practical to the realistic. In his left, he has the power of vigors, this game’s version of plasmids. Vigors let Booker summon swarms of flesh-eating crows or throw around bolts of lightning. It is using both of these together that makes combat in this game special, especially when you introduce the third piece of Booker’s combat trinity: the sky-hook. The sky-hook lets Booker melee enemies in a particularly brutal fashion, but it also lets him hook onto Columbia’s sky-lines and basically roller coaster around the environment. When Infinite puts you in an arena with a variety of enemies, rails to ride, and tears to open, its combat is as fun and engaging as anything else in the genre.

That’s what I love about Bioshock games. Not only are their stories fascinating and, more importantly, only work in the video game world, where the player as agency, but they are first person shooters. They are in the same genre as Call of Duty. And while the whole genre downplays the importance of single player, these games come out without even a multiplayer mode. Is the game perfect? No, I would say there are definitely some aspects, like the fact that the game expects you to constantly be scrounging for supplies, that keep me from saying that. But it is a remarkable game and one I’m still thinking about two days after I beat it. Infinite is definitely an experience anyone who cares about video games should have.

I Ain’t Raiding No Tombs

Tomb Raider

Tomb Raider is the latest in a long line of series reboots that just couldn’t think of a clever title, so it just called itself the same name as the first game. Except, it’s not entirely clear if this is a new Lara Croft, or the untold origins of the same Lara from all the other games. It doesn’t really matter, I never played those games anyway… I always assumed her character design was compensating for something, possibly terrible gameplay, and shied away from the franchise. Well now’s a great time to jump on, right? Right.

Tomb Raider is a game about confidence. The story begins rather abruptly, with Lara on board a ship that is quickly destroyed in a storm, leaving her stranded on another of gaming’s maniac islands. She is scared, cold, injured, and desperate to survive. She has no faith in herself, constantly doubting her abilities. The Lara we see in the early cinematics has to constantly be encouraged, with the other survivors from the shipwreck often reminding her, “you can do this.”

Of course she can. As a gamer, you know your character is always a badass, and when you’re in control of Lara, she acts like one. She can kill dozens of armed goons like its nothing. She can summit sheer walls with nothing but a MFing axe, smashing it deep into rock as she jumps up. The disconnect between the gameplay and the story is profound, until you realize this story isn’t about Lara growing into a tougher self, but rather it’s about her discovering who she was, who everyone already knew she was, the whole time. It’s a solid character arc, but the rest of the story is hardly interesting. Most of it seems to be cribbed from Uncharted 2, complete with a final boss who asks, “Who’s the real villain? How many did you kill to get to me?” The other survivors are extremely one dimensional, nobody cares if they die.

The gameplay is pretty Uncharted, as well. Lots of climbing, shooting, and a bit of puzzle solving to round it all out. The island is pretty and the environments on it are varied enough that they kept me interested. You’re free to explore the island at your leisure, and, being a video game, there are plenty of collectibles to find, which give you XP and salvage, which you use to unlock new abilities and upgrade your weapons, respectively. It’s all very nice and modern and not particularly exciting but plenty fun. The only actual tombs in the game are all optional and too short, but fun enough instances of puzzle solving that I’d recommend seeking them out. Hey, I like games like these, and Tomb Raider is good at being this.

It also has a multiplayer mode, because that worked out for Uncharted 2, too. I guess some folks really like this, but when you suck away all the cinematic and story elements from the single player campaign, I’m not really interested. Multiplayer seems fine, from what I played of the game’s requisite deathmatch, team deathmatch, and attack-and-defend modes. There are unlocks and levels and all that jazz too, if you want to commit. I know that’s designed to keep people invested, but I really wish games would just let me choose the characters and weapons I want right off the bat – I guess that’s really a systemic problem with the whole industry right now, not just this game.

But really, what I was impressed with in Tomb Raider was the story. I came into this knowing how touchy the gaming community is about female protagonists, and how badly some aspects of the story had been advertised. While she’s not as snarky and fun as Nathan Drake, I certainly think Lara is in his company. I liked playing as one of gaming’s icons, in a series I had otherwise ignored. That makes Tomb Raider a pretty good game in my book… of games that either bad or good.