The Murlocs // Calm Ya Farm – REVIEW

Uncle Murl’s most ugly and perplexing album art yet gives way to an incredibly cohesive effort – with some of their finest tunes to date.

Coming in a just over 9 months since their explosive 2022 record Rapscallion, Calm Ya Farm sees The Murlocs once again exploring a different variation on their trademark sound. This time, the influences stem from country rock and bluegrass – much like the King Gizzard and the Lizard Wizard’s 2019 album Fishing For Fishies (itself one of the tightest and most enjoyable records amongst their endlessly growing catalogue). Frontman Ambrose Kenny-Smith’s late father was Australian country rock/blues legend Broderick Smith, and it would be safe to say his body of work surely give influence to Ambrose during his youth and beyond, and that inspiration is on full display with this latest album.

Slide guitar and tasteful sax solos notwithstanding, the album still has all the hallmarks that create that familiar Murlocs feeling we all know and love, as well as bringing new sonic flavours into the mix that I never knew I needed in a Murlocs song til now.

The album opens with the killer single Initiative,an upbeat and reflective tune which finds Ambrose waxing lyrical about the need to take responsibility for one’s own life and decisions – and declaring he is “mad as a hatter”. The next few tracks tackle subjects ranging from the erosion of so-called “common sense” to superstitions, both in the general and religious sense.

Track 5 – Centennial Perspective – soon rolls around, and it is another infectiously catchy tune lambasting the ignorance and fear-mongering often seen from the elderly citizens we live amongst. Television brainwashing, political mistrust, the quality of today’s music and even the slow death march towards the planet’s eventual untimely demise are all tied together with a hook you’ll find yourself singing for weeks to come.

Queen Pinky comes next, a lovely cut written by Ambrose for his wife.

Following this, a personal highlight – and the 2nd single released for the album – arrives in Undone and Unashamed. An addictively replayable track that could be interpreted as being about letting your character flaws define you, and embracing the turmoil that comes with that. In an interview with Live for Live, Ambrose himself said about the track (and it’s accompanying video):

“Letting loose all the time comes at a cost. When you choose to not hold yourself accountable for your actions by going on countless benders will only make things worse. People don’t always forgive and forget.”

Captain Cotton Mouth finds Ambrose once again affecting a low narrator’s drawl, much as he tried on Rapscallion’s third act – however this time with much more effective and enjoyable results.

Catfish and Smithereens were two tracks I didn’t pay much mind to on my first listen, however upon subsequent listens my affection for them seems to grow each time.

Catfish deals with the phenomenon (known by its internet-popularised colloquialism) of somebody pretending to be somebody they’re not with the intention of extorting money/goods from somebody else. Whereas Smithereens finds itself utilising a wealth of metaphor and simile to allude to the chaos that people can bring – both intentional and unintentional – into our lives.

Interestingly, for this album The Murlocs decide the second to last track should be an instrumental (a first for the band). Titled Forbidden Toad, it is a largely forgettable cut. Despite being a decent enough instrumental on its own merits, I couldn’t help but feel like it was just missing that extra flair that makes all the other songs on this album really shine.

The closer for this LP is the short and sharp (2 minutes and 44 seconds long) tune Aletophyte. Named for “weedy plants growing on the roadside or in fields where natural vegetation has been disrupted by humans” (yes, I had to look it up), it features classic slap-back vocals, cowboy ballad guitars, organ-like synths and a driving rhythm that just leaves you wanting more.

Calm Ya Farm is another solid notch in the belt and once again proof that The Murlocs are far from running out of fresh ideas and are still making incredible, enjoyable music. Ambrose has once again reached new heights in regards to his songwriting, and it would seem there is plenty of fuel left on the Uncle Murl express, and it’s a train I look forward to riding to the very end.

The Last of Us Part II – REVIEW

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Before you embark on a journey of revenge, dig two graves”

7 years is a long time to wait. While waiting for a sequel, follow-up or other adaptation set in an established universe using beloved characters, people build up expectations. Unrealistic expectations. The sad truth of it is that a delivered product – especially after so much time – will fail to meet many of those fans’ expectations and preconceived ideas. You can’t please everybody, that’s understandable. However the extreme backlash that The Last of Us Part 2 has received is completely unfounded. It truly boggles the mind to wonder how professed ‘hardcore’ fans of the original game could be completely dissatisfied with every aspect of the story-line and narrative. After having played the original game and then immediately ploughing straight into Part 2, I am left with a sense of bittersweet, reflective melancholy. To play one and/or both of these games is to be taken on a journey, and much like when I finished the first game, I have been reflecting on all the decisions and plot points of the second. I have even dreamed about it. It may not be a ‘perfect game’, there are definitely a few things that could’ve been changed/improved for the better, but if you were a fan of the first game – or even just casually enjoyed it – this title is an absolute must-play. Naughty Dog have taken everything about the first game – from gameplay mechanics to heart-wrenching narrative – and supersized it.

Almost every aspect of gameplay from the original title has been expanded upon or improved in some way, but by far the largest improvements that have been made are with the combat. The melee combat is more tense, (at times) more difficult and requires finesse to pull off flawlessly to come out unscathed. The improved dodge mechanics, while somewhat unforgiving, add a complexity to the melee combat that it felt it was lacking in the original game, and both human and infected enemies pack quite a punch. The animation for the melee combat is polished to hell and back, as well as being visceral in its detail. There are a couple of new enemy types, which added variety and challenge to a number of sections in the game (especially when you’re running low on ammo and you can’t see how many enemies there are because they’re immune to Listen Mode goddamn Stalkers had me yelping like a wounded dog every time they came rushing at me from behind a desk). The enemy AI has been given a much-needed overhaul, as well. The scripted paths the NPCs follow feel a lot more fleshed out and organic, enemies notice missing comrades faster and call out to each other by name when reporting in/trying to find each other/witnessing each other die, which adds a hefty layer of realism and tension (especially when you’re trying to be sneaky or blast someone in the face in front of their brother or whatever) to an immersive experience. The combat sections feel more diverse and less linear than in the first game, with many alternative pathways and unconventional methods of dispatching enemies available to the player, should they care to roam about or examine their surrounds. A personal favourite tactic of mine was using throwable distraction items to lure the infected towards human enemies and cause them to fight each other while I sneaked by, pillaging all the resources out of every nearby cabinet and drawer I came across like I had an addiction to oily rags and broken pairs of scissors. The weapon customisation feels a little more fleshed out, and the weapons change aesthetically more noticeably with each customisation – which is a nice touch. However the weapon sway did make an annoying – if not as horrific – return so I recommend upgrading that on your longer range weapons immediately if you don’t want to simulate what I imagine it feels like to try and aim at something while drunk off your tits. Lastly, the swimming has been improved, and feels more fluent and controls a lot tighter, in the original game swimming felt like you were treading water in molasses and diving underwater rendered your view about as detailed as trying to see the bottom of a bucket full of murky piss. All in all, the game plays even better than it’s predecessor, and while the gameplay may not win any awards for being experimental and innovative, it is enjoyable and really shows the upper limit of what the PlayStation 4 is capable of. A very nice benchmark title to come out near the end of the PlayStation 4’s lifespan.

Those who cannot forgive others break the bridge over which they themselves must pass.

The storyline is – and I do not say this lightly – an absolutely wild, heartwrenching ride from start to finish. While the central ‘theme’ of the first title was “Life goes on”, it feels like the theme of the second is grief, and the destruction it can cause to ourselves and those around us, and the consequences of letting hate consume us. The characterisation is once again absolutely excellent, every single character – for better or for worse – lives and breathes within the narrative, and apart from a couple of oddly stilted moments of exposition, the dialogues feels as natural as a cool breeze blowing through the silent trees of a redwood forest. To discuss any spoilers would be doing this game a disservice, as I feel every moment in the narrative needs to be seen and felt first-hand to have the most profound amount of impact. However I will say that Abby is one of the most finely written ‘villains’ I have experienced within a narrative – let alone a video game – for a long, long time and the particular way that the narrative is shown to the player is something I have wanted to see done for years, and Naughty Dog did it (almost) perfectly.

The game is not absolutely flawless, there are a few minor gripes I had with the story (particularly near the end) but the game did not come across as preachy at all, to me. There is representation, as I am sure you have heard, but none of it really feels tokenistic by any measure. I honestly think people let conjecture from the leaked script – as well as their long-built expectations – unfairly colour their opinion of this gripping title, and while a controversial release now, I think The Last Of Us Part II will go on to become a highly regarded and beloved title on the PlayStation, much like it’s predecessor. If you were a fan of the first game, you absolutely must experience this game. Let the waves of emotion crash over you, close the book on the story of Joel and Ellie, and feel it every step of the way. It really is something worth feeling.

You don’t need strength to let go of something. What you really need is understanding.”

Big Bill and The Bigots // Let The Empire Burn – REVIEW

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You awaken in a cold, damp basement. A single, dusty lightbulb swings like a pendulum above you, as you clear your eyes of sleep. The four cinderblock walls around you ooze a translucent, sticky gruel, and the concrete slab upon which you sit is like ice. You see a figure standing in front of you, he crouches down to meet your gaze, and holds a cracked mirror to your face. Inside it you see not yourself, but the face of God, and it is weeping.

Let The Empire Burn is a dreary, macabre soundtrack to a coming apocalypse. Reminiscent of Nick Cave or post-reformation Swans, Big Bill & The Bigots use deep, visceral instrumentation paired with a gravelly, drawling vocal to evoke the feeling of being in a cholera-stricken town in the old west – one of dread and unease. You peer from the window of your stagecoach as it rolls through the center of town and see the melancholy on all the townsfolk’s faces, wondering which of their many burdens weighs heaviest upon their shoulders.

Each track on this EP is filled with chugging guitar riffs, feverish drumming and thought-provoking lyricism. Big Bill is a raconteur of high calibre, and across these five tracks he delivers a snarling critique of the poisonous culture that still permeates the minds of our citizens. The production quality is superb, and repeated plays reward the listener with something new to appreciate each time. Humble beginnings, to be sure, but absolutely brimming with effervescence and potential. If this is just the first helping of what Big Bill has in store, you would be remiss to cast your eye elsewhere and miss watching the sight of this new crimson flower coming into bloom. Let Big Bill take your hand and lead you down the spiral staircase into hell, where you will be cleansed by the flames and from the ashes, born anew.

This EP is available on Bandcamp and Spotify. Check out the video for ‘Sunday Mourning’ here: https://www.youtube.com/watch?v=mB6DxXZjXeE