Shop the RoboCop Capsule Collection

It would appear that you guys love clothes with half man/half machine cops on them, because the RoboCop capsule collection has been moving off the shelves briskly. We have just restocked the collection with shirts, jackets and hats. Check out the store quickly, to grab anything that might’ve been previously sold out and reward yourself with a late Christmas/Haunkah/Kwanza gift.

This also bodes well for our next capsule collection centered around an equestrian cop who is murdered with his horse, then brought back as one cybernetic crime fighting entity. Heads were skeptical, but the CyborgCentaur Capsule Collection is really gonna do numbers.

Magic Fades unleashes “#1-P.O.L” from their vaults to soothe your savage, beastly yearning on the eve of a new year. “#1-P.O.L” is off of their new album Obsession, dropping January 8th on Mishka Records. This track flips Enigma’s “Sadeness” into a very wavy ode to body rolls, and the ladies that wield them like barbarian weaponry in the club.

As with all of Magic Fades songs, it’s more of a expressionistic experience than a literal one. But, you feel that shit down in your emotional core and that’s really all that matters. Listen to this and prepare for the emotional onslaught that is Obsession.

It’s no surprise that most of my favoured games this year are download-only: games free of the constraints of large publishing deals and the costs of physical media. I like those physical artifacts as much as the next self-respecting hoarder, but when it comes to gaming and the creativity that I’ve seen flourish within the digital marketplace, it seems all the more difficult to pine for the past. The future of gaming is increasingly digital, independent and passionate: a fact well-displayed by some of the better releases this year. As Bobby Kotick plots to overthrow Steam, kill Gabe Newell and eat his heart to gain his strength, let us celebrate the games of 2012.

Most overrated stinking bag of turds: Assassin’s Creed 3

Let’s get this out of the way, shall we? I’m almost undoubtedly being unfair in my treatment of Assassin’s Creed 3, but as it stands, this game represents just about every problem that I have with contemporary gaming. Beyond the forgettable multiplayer mode and the complete lack of invention is a game so swollen by its own misguided ambition that it manages to transcend the medium. Assassin’s Creed 3 is less of a game and more of an overwrought, pointless and boring digital narrative that contains brief flashes of laborious interactivity.

A game cobbled together by work from multiple teams over the globe feels exactly as it should; broken; disjointed and without any defining characteristics. It begs, borrows and steals half-finished mechanics from superior games in a vain effort to justify its existence as a product. The sooner games stop being a dumping ground for Hollywood rejects with a penchant for The Matrix and an unhealthy obsession with the  Illuminati, the sooner I can calm down and go back to normal.

Pompous, flawed and excruciatingly dull: Assassin’s Creed 3 left a stale taste in my mouth and was another nail in the coffin for the games that define themselves as “AAA”.

Game of the year:  1st Place – Fez

What can be said about Fez that hasn’t been said already? Wildly imaginative, charming and heartfelt: Fez is not only my game of the year, but also one of the finest gaming experiences I have ever had.

Beneath the high-concept level design, indie-chic, striking visual direction, sublime audio and controversy lies the most sincere love letter ever written to the gaming medium. Fez is a game that takes its influences seriously: revering the likes of Zelda and Mario as if they were works by Dickens or Kubrick. It is a game that wears its heart on its sleeve and channels youthful fascination into mature introspection.

It’s the unspoken words of every kid who wondered how their Nintendos worked. This is that imagined world beyond our vision: the unseen magic kingdoms inside our games that shipped quantified fun through RF cables and into our hearts.

No game has ever made me so proud of the medium, nor inspired so much passion in me. I would swear fealty to this game, should the opportunity arise.

2nd: Hotline Miami

Beyond the precise mechanics and ultra-violence lay a game that signalled a new wave of future indie classics. Hotline Miami is brazen, focussed and accomplished: built and released by two men with a singular vision and little regard for contemporary game design trends. This is as close as gaming has ever come to being punk. Suda 51 is already kicking himself for not making it first.

3rd: Borderlands 2

Dude, have you got that Bee Shield? You know the one; it fires spikes and does crazy amp damage and has a super-high capacity It’s fucking AMBER. For a few months of this year, all of my conversations went a little something like that: spunking over rare loot drops and that one gun that doesn’t require any ammo. Borderlands 2 turned me into a loot fiend and consumed my early evenings for longer than I can remember. I couldn’t even hold adult conversations any more, because I just wanted to tell my boss about the amazing class mod I picked up the previous night.  The game is genuinely funny, bursting at the seams with character and deeply compulsive. If I had to ride out eternity with just one game, this would probably be it.

Best storytelling: The Walking Dead

Given how often I crow about the notions of ‘mechanics’ and ‘pure gameplay’ , you’d be forgiven for thinking that I didn’t care much for storytelling in games. You’d be wrong, of course: I just think you need to get the foundations built before you go spinning elaborate yarns.

The Walking Dead found a perfect home for its narrative ambitions in Telltale Games’ updated point-n-click format. This is a game that managed to both shock and upset me, but it also made me care. I genuinely cared, and still do, about the choices I made, those who lived, those who died and those that were left behind.

A simple interface proved the most effective framework for an ambitiously narrative-driven series; showing developers the world over that, if you want to win awards, bigger isn’t always better. You’ve just gotta have heart, man.

Most underrated: Binary Domain

SEGA’s proof of worth was twofold when they released Binary Domain earlier in the year. For a start, they showed the world that the third-person cover shooter was no longer the sole domain of western developers: replacing the genre’s increasing reliance on spectacle with water-tight controls and satisfying combat. They also reminded the world of who they were: SEGA aren’t just the home of Sonic & Tails, but are also the company that have given us the likes of Kid Chameleon, Comix Zone and Shinobi. Binary Domain was a nostalgia trip for anyone that bought into SEGA because they were way cooler than Nintendo and a fantastically solid shooter to boot.

Best Value For Money: Halo 4

By now we’re used to our big-name shooters striving to deliver the ‘complete package’ experience. But, with Theatre, Forge, Multiplayer, Co-op, Waypoint and the ongoing story of Team Crimson in Spartan Ops mode, Halo 4 does it better than anyone else.

Even if the game turned out to be a stinker, you can’t deny the satisfaction that this kind of value brings. Luckily, Halo 4 is a firm reminder that console shooters were laughable incarnations of their PC counterparts until the original Halo landed on the Xbox over a decade ago. This is the series that built the console shooter framework and it continues to innovate and define the genre in the hands of its new masters over at 343 Industries. Most definitely the success story of the year.

Best Atmosphere: Max Payne 3

As much as I’d love to mention how much I dug Dishonored’s steamy Dickensian nightmare aesthetic with this award, I’d be kidding myself if I awarded it for anything other than Max Payne 3′s drunken, sun-bleached hell-haze. If anyone can handle tales of booze-soaked retribution in the seediest of worldly underbellies then it’s the good people over at Rockstar. Matching a Michael-Mann inspired starkness with a torturous tone that would make Aranovsky shiver was a master stroke, and one that proved that Rockstar’s affinity for cinematic flair went beyond mere Hollywood-aping tactics. They employed a tone that matched Max’s story and then had the decency to use it as a coating for one of the most visceral and gratifying shooters I’ve ever played.

Most blatant male wank fantasy: Lollipop Chainsaw

If Juliet Sterling didn’t handle like a busted-up shopping trolley, Lollipop Chainsaw would be a classic by now. Alongside a colourful cast of musical zombie bosses and a bizarre Suda 51/Troma aesthetic lay a poor man’s Devil May Cry that exhausted more gaming tropes than I care to mention. However, it did manage to be genuinely funny at times; had a busty zombie slaying cheerleader for a protagonist and a pretty decent soundtrack. Upskirt panty shots whilst you decapitate zombies with your rainbow chainsaw, all whilst Toni Basil rocks out in the background. That memory alone deserves an award.

Honourable mentions: Mark Of The Ninja, Papa & Yo, Jet Set Radio HD, Trials Evolution, Hitman: Absolution, Spelunky.

Wish I’d played: Tokyo Jungle.

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And so, on to 2013. Along with it comes the promise of true greatness from Bioshock Infinite, the anti-rape fantasy with the Tomb Raider reboot, apocalypse-porn with The Last of Us and razor-sharp, vocabulary-expanding absurdity from Metal Gear Rising:Revengeance. Did I miss anything?

G4 Boyz come through with the video for “Hating On Me”, which is infinitely cheaper than Nas’ “Hate Me Now” video, but is most likely, infinitely more fun. No Puffy though.

Dudes hang out in a hotel room with some girls, try to skateboard, and smoke weed. All the while, pondering the age old question, “why you hating on me?” At some point in life, we should all ask ourselves why “they” are “hating”. Self examination is key to personal growth, asking such questions can only make you a better human. If you don’t have any haters, you’re probably not doing much in life, and thusly should make a new years resolution to accomplish more/gain haters. Climb that staircase to greatness, step by step. Until your haters are counted by the legion.

If you would’ve said Pusha T and Fabolous were going to make a video at Art Basel five years ago, it would’ve sounded like the deluded dreams of an art dealer that spent too much time listening to We Got It For Cheap and There Is No Competition. Alas, it’s 2012, and the art world and rap world are all boo-ed up, so dudes that used to sell coke in the projects rub shoulders with Jeff Koons.

While “Life Is So Exciting” isn’t the best thing either of these dudes have done recently, even their autopilot songs still kill most rappers most thought out bars. Especially like Fab’s Serge Ibaka shoutout, especially considering this video was shot in Miami, where Ibaaka went down in flames during the last NBA Finals. In the art world, they’d call that meta commentary. Looks like dudes were paying attention at all those gallery openings.

Since 2010 birthed the emergence of Odd Future, the rap collective has made a strong comeback.  Joining forces—once shied away from, after the much covered break ups of Dipset and G-Unit—suddenly came back with a vengeance.  Nowadays everybody and their mother is part of a collective.  From the ASAPs to the TDEs, collectives are the “it” thing to do.  When done right (re: Odd Future), “Everybody eats b”, as Ace Boogie from Paid in Full would say.

Where most collectives fall short, is either the talent isn’t balanced, or they focus to much on one one member “getting on.”  A lot of the collectives in the DMV (the DC, Maryland and Virginia metropolitan area) fall victim to one of these fates.  The group of musicians known as The Grammy Family, however, are a happy exception.

NEOGEO by rMell

While most outside of the DMV haven’t heard of them, The Grammy Family could easily be the next big thing from the area.  The Grammy Family consists of MC/Producers Miles Meraki, CRASHprez, Matt McGhee and rMell, producer Jaylen! and a singer known simply as Chelsea.  In one of the more consistent years for the DMV music-wise, you could easily argue that The Grammy Family has been one of the most consistent.  Matt McGhee kept heads waiting for his album AWARD (Always Working At Achieving Destiny) satisfied with his mixtape Girls.  rMell dropped his long awaited album NEOGEO to much acclaim (it was a trending topic in DC for about 12 hours, almost unheard of for a non-trap artist or an artist not named Wale).  CRASHprez dropped many projects, with 2 very good ones in CRASHvillainy, and ode to the underground classic Madvillainy, and I Hate All You Rap Niggas: A Thesis.  While not having any solo drops, Miles Meraki and Jaylen! did their thing with their features and production, respectively.  With 2 confirmed projects for 2013, AWARD comes out February 19^th, Miles Meraki’s album Perfect drops sometime between 2^nd and 3^rd quarter 2013, and numerous untitled projects from CRASHprez, rMell, Chelsea and Jaylen!, The Grammy Family looks to build on their strong 2012.

AWARD Singles by Matt McGhee

I recently was able to sit down with the four MCs of Grammy Family, in talking to them I really got a feel for what sets them apart from most artists in the DMV area: they are serious about their craft.  With music ,they are all business.  That business mentality is what really sets them apart from the pack.  Even though no one said it outright, I could tell by the way they spoke to each other and the way they broke down the processes behind each other’s projects, that they really push each other to be the best that they can be.  More artists in general, not just the DMV, need that mentality.  They are driven not only by each other, but also from other successful artists and peers.  Matt told me “Jealousy drives me, because when you see somebody that’s doing better than you, and it’s like “Damn, I wish I was in their position too,” and then it drives you to to do better because you want to be in their position.”  Most artists I know would take that jealousy and make it a negative, through a diss or flat out hate.  But the Grammy Family, as they all agreed with Matt’s statement, make it a driving force, motivation to be on top.

Hippodramidan (Sir E.U and Avionadramida) – After F by jaypreme

The Grammy Family definitely has all the tools to be successful in music.  The best thing about them to me is the fact that they don’t all sound the same.  A lot of crews put together a bunch of dudes that all sound the same, and it makes their music boring.  But with Grammy Family, they all have different styles, but they blend them all together flawlessly.  The sky is definitely the limit for these dudes if the really want it.  And from speaking to them, wanting it is definitely not an issue.  These guys want to be the best, and they have the potential to be just that.

Mishka fam SINS is known around his hometown of Toronto for many things – one of which is playing at awesome parties. Check this vid he and SARIN prepared for latest track Night Rider and also to show you what’s what when it comes to Shit Fun NYE where he will playing killer live set with the likes of Tarantula X.

SINS doesn’t mess around, joining GL▲SS †33†H and hitting up Boston up with another live show at Nocturne, Jan 18. Keep a look out for new SINS album out early 2013.

On January 8th, White Ringwill be playing live in Seattle for the first time in over a year. In preparation for the upcoming release in early 2013 of their new album entitled Gate of Grief on Rocket Girl Records, White Ring will be performing many new and as of yet, unheard songs. White Ring are best known for the witch house classic “ixc999” and their releases with labels such as Disaro, Pendu Sound Recordings, Hi-Scores, Emotion, and Handmade Birds.

White Ring will bring their unsettling blend of bassy distorted electronics and vocals to Chop Suey with support from Mishka’s  own Bruxa, Rxch Wxtch (No Sleep), SH6RL6S6 (DJ SET) and one of the hottest new things in the scene Your Young Body. Tix are $8 advance / $10 day of show. Seattle, do not sleep on this!

Waka Flocka Flame – Murda (WHITE RING 2k12 remix) by WHITE RING

Monte Hellman is a true American original with really great hair. During his 40 year career as a filmmaker he’s tackled topics ranging from cockfighting to disfigured harpooners on whaling ships in the 19th century. No matter what the story’s about, Monte has something to say about the state of the world. His greatest film is 1971′s Two-Lane Blacktop – a meditative road movie about loneliness, male obsession, and the inability to connect with others despite these shared obsessions. On January 8 the mighty Criterion Collection is releasing Monte’s masterpiece in stunning HD. And the open road never looked so good.

Two-Lane Blacktop follows two men only known as Driver and the Mechanic. They’re played by James Taylor and the Beach Boys’ Dennis Wilson – in their only acting roles ever. They’re racing cross country in their souped up ’55 Chevy from California to D.C. against one of the greatest actors to ever walk the earth: Warren Fucking Oates. Warren plays a charismatic wanderer driving a stock GTO. So he’s known only as GTO. Along the way a young girl (known only as Girl but played by Laurie Bird) tags along.

It’s pointless trying to explain what happens in Two-Lane Blacktop. It’s unlike any road movie you’ve ever seen. The race never matters. It’s all the moments in between the speeding that Monte focuses on. Like when they stop to eat or get gas.  We get really intimate with these longing men who are all driven by some vague fantasy of “a better life” they probably read about in a magazine. They exist only in the present without a past or a future. And this road goes nowhere.

In more popular road movies (most notably Easy Rider) the road represents freedom. In Two-Lane Blacktop it’s nothing but the dream of freedom. Despite putting up their pink slips, the men don’t even really care about the race. They’re just hoping to find some meaning in it all. You’d think sharing the same obsessions with cars would allow them to connect, but they all seem uncomfortable talking to one another. Even though you’d think they;re best friends, Driver seems to hate interacting with the Mechanic. It’s like he thinks talking will slow the car down. It’s gotta be one of the greatest portrayals of masculine alienation of all time.

It’s also a really weird movie. There are characters who walk off screen never to be seen again. Warren Oates’ wounded wanderer changes sweaters about two dozen times. And there’s an almost goofy running gag about men having to use the women’s bathroom. It’s great stuff. The film is part of that incredible period of American cinema between 1967 and 1972 when major studios bankrolled anything they thought the “counterculture” would dig. After The Graduate made bank, directors were pretty much allowed to do anything and approach whatever subject they wanted in an experimental manner. Then The Godfather came out in 1972 and bloated Hollywood blockbusters took over again.

The Criterion Collection presents Two-Lane Blacktop in a newly restored HD transfer, supervised by Monte Hellman. It looks terrific. The dark around James Taylor’s eyes contrasts beautifully with Dennis Wilson’s teeth. Honestly, it looks fantastic. The disc includes a grip of special features, including “On the Road Again: Two-Lane Blacktop Revisited.” This is the best bonus and it features Monte driving around with a bunch of his film students. He talks about the origins of the film, how the studio fucked the film before it was released, and how the film negatively affected his career.

There’s also a conversation between Monte and James Taylor – who still looks uncomfortable in front of a camera. He explains how he hates seeing himself on screen and also hates hearing himself sing (me too!). In another feature Kris Kristofferson talks about the origins of “Me and Bobby McGee” – the classic country tune he wrote that’s featured in the film. There’s also screen tests by Laurie Bird and Taylor as well as a ton of behind the scenes photos and stills. Criterion, you done done it again.

If you’re not, you should be a fan of early ’70s “new American” cinema. And Two-Lane Blacktop should be your gateway drug. Also, it’s an honest to god shame James Taylor never acted again. He broods with the best of em. In the film he spits one of the most badass lines in all of cinema: “Make it three yards, motherfucker, and we’ll have us an automobile race.” Get your Blu-ray copy of Two-Lane Blacktop, coming January 8, from the Criterion Collection.

Those UK internet thrillers at Post-Religion just dropped MADDEN’s new 4 track EP TUMBLRWAV. Riding waay high on waaavy tones, MADDEN’s new EP surf’s through slow clubbed out 4/4 blessings. Big leads and noodled arpeggiations over house and break grooves knockin your head back into the future with this end of year treat! FREE DOWNLOAD so gittit naow!!  :)