#Would be the next ideal (official) Sonic “event”?

[polling-sonic-fans]

Thank you for submission, and apologies @mtx-art for relisting this question, I had some trouble editing the responded ask on mobile.

Polling Sonic Fans for their opinions on all manner of things. Share good questions to indicate what you want asked. Submissions open.

[thebandcampdiaries]

God Moore the Elixir - Passport: Ego Sum Qui Sum

God Moore the Elixir is more than just your average hip-hop artist. Unlike so many modern rappers who just chase trends and copy the lyrical styles of the most trending artists at any given time, he developed a thoughtful and personal sound. His rap flow is deeply tied to the art of parablism, that is,  verbally projecting thoughts or ideas to the listener. He managed to accomplish that by exploring a vast array of topics, and concepts that have the power to really connect with the audience.

Recently, the artist released a brand new album titled “Passport: Ego Sum Qui Sum.” This record denotes a really special approach to production, with a sound that feels clear and sophisticated, yet warm and organic.

This astonishing release features 9 studio tracks, each blurring the lines between different sonic aesthetics and creative directions. The first song on the set list is titled “Chess Move.” Much like it requires some thought to come up with the perfect chess move to win a game, this track is filled with clever lyrics and searing topics, igniting the listener with a witty spark of intelligent songwriting. “WYFW (Catch Me On The Way Back)” is a great song, which combines its unapologetic lyricism with a really dense and organic background track. “So Kosher 1.0” combines a sharp lyrical flow with a beat that has a nice old-school vibe, making for a gritty, yet melodic approach. This song has a modern and polished production, which really allows the mix to stand out for its clarity and depth. On the next track, “GNLFY”, there is even room for a stellar collaboration with Glance Conway, who helped shape this song into something that truly stands out. The 5th track on this release is a song named “Focus 1.0 (Without The Blind Eyes)” and it stands out for its golden age flair. I love the combination of cross-cultural references and classic hip-hop grooves! In addition to that, “Facade (P.B.S)” is yet another lyrically strong track, which actually ties right into the concept of the next song, “So Racist.” The subject of this release speaks for itself, and this song really stands out as a strong title, a very unapologetic look at some of the world’s most controversial issues in this day and age. The next song, “Passport 1.0 (Krill & Steak)” is one of the best tracks on the album, with its catchy melodies and intelligent composition. On this one, the low end is really fat and punchy, while the mid-range is warm, but never harsh. In addition to that, the top end has a nice, silky tone that really contributes to a smooth sounding mix that puts the vocals at the forefront. Last, but definitely not least, “From Predecess To Tha Predeceed” serves as a perfect curtain closer, reiterating what this album is really supposed to be all about! This song in particular showcases the artist’s personal philosophy and spiritual beliefs, from a truly interesting point of view. It’s a deeper reflection on faith, identity, and more. 

One of the most interesting and striking features of this release is definitely its remarkable consistency. Not many artists can easily pull off a project that features such a wide variety of elements and influences. The most obvious risk is that the material can end up sounding quite disconnected and loose - but this is definitely not the case.  

God Moore the Elixir is a master at creating organic, cohesive and consistent vibes, which really flow well throughout the span of this release. The performances are loaded with passion and integrity, while the production aesthetics are also excellent. The mixing quality is indeed absolutely world-class, with some amazing definition in the top end and lots of punch in the low-end and midrange. The results sound warm and present, yet never harsh or fatiguing, which is quite an amazing achievement, particularly in this genre! With this release, the artist really made a point to set the bar higher, not only for himself, but also for his listeners, genuinely delivering something that’s catchy and direct, yet forward-thinking and challenging in the best possible way.

Ultimately, this is an album for pioneers. For the forward-thinkers who like honest and meaningful music that’s more art than entertainment!

Find out more about God Moore the Elixir and listen to this release:

https://www.youtube.com/playlist?list=OLAK5uy_k5ghJQF0RUxdt--KT_aD-sZ9seUs9giOc

We also had the chance to catch up with this talented artist. Keep reading for a full interview!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

My appreciations and thank you for the review you constructed of my album.  You’re truly exceptional at what you do.

You know, you're the first to ask me that in an interview....there are times when other artists make fair and welcomed attempts to extract an idea by asking how I structure my lyrics or what gave me the idea for a track.   Quite frankly, there are times in which I let the beat tell me a story and I correspond with one similar, but verbally....that approach is literally no different from indulging in a cordial conversation with someone who shares a similar view.   That's a conversation that'll take you off schedule and make you a few minutes late to your intended destination.   Other times, the rhythm of life brings forth that which is within the subconscious.   An example would be when you arrive at that destination and don't recall the duration of the drive itself because of mental activity; the time within the drive granted the mind the perfect opportunity to reflect, explore, and bestow the findings to the conscious....I hope that answer is fitting enough.

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Yes, but not as often as my peers and others think I should.  I'm quite comfortable in both.  It's been a while since I actually performed on stage.  Like over 10 years.  I took a well-deserved hiatus to work on separating the mentality I developed while deployed as a contractor overseas.   I won't go into the content of my service, but once I returned, I had to really look at what I had become.  Returning to the things I left during the first deployment wasn't a difficult transition because my time there was like a vacation....but the others were a little different....there was a change that I didn't want to be a constant within my identity....so it takes time to truly analyze yourself and be blatantly honest with yourself about yourself....10 years may sound a bit extensive to some, but it was necessary.  And even with that passage of time, the stage is nothing foreign nor are the sound-proof walls of a studio.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

It would, hands down, have to be From Predecess To Tha Predeceed and quite frankly, it's not difficult to understand why if who I am is attributed wisely.  FPTTP is an accurate portrayal of identity greater than my observation of an individual, individuals, or an event for inspirational purposes, writing from the position of someone else and projecting what my primitive reaction would be upon aligning with the lesser of choices, or me just having a moment of raw grit because a memory ensued for whatever reason (which is normally to maintain a healthy balance of personal cohesiveness)....FPTTP is what I Am from a point of what I can accurately articulate....some things (thoughts, feelings, emotions, aspects of self, experiences, etc.) can't be explained because there are no words to explain or fully describe them.  The articulation of such findings remain sacred until another is met who are operating on or within a similar frequency....and the connection is apparent but nonverbal.  All other attempts to express may provide some degree of minute reference. Nonetheless, they will always fall short of exactness.

What does it take to be “innovative” in music?

Innovation - as well as the opportunity to be innovative - is always in existence.   From the standpoint of creating music, the opportunities are just as apparent.  Being alert of your direct atmosphere/environment (what's happening around you) and staying aware of what your mind is manifesting (what's happening within you) at all times indefinitely, like, really being in tune with what is being imparted to you from your higher faculties and recognizing at that very moment that this is God Mode (a moment of creation), is ideal.  Honestly, innovation is inward and dormant until the perfect circumstances occur to awaken it.  So all it takes are the tools to pinpoint it for further crafting and the desire to allow it to manifest for universal utilization.  And the amazing truth about these tools is that they are already within you.

Any upcoming release or tour your way?

Yes to the releases, and not at current on the tour front.  But to all my supporters, globally, I will be looking forward to making the Passport Tour official soon, so don't fret.  I want to take time to be fair to this venture I have finally accepted as ordained.  Let those that listen and support me and my art have adequate time to “see with their ears” before the visual entertainment aspect is approached.  That's out of respect and love for my supporters and exercising patience so every box is checked and no stones are skipped on my behalf. Pebbles are perfect for skipping, but if you skip a stone in life, you'll only get so far before you'll have to return to it, so if I'm going to do it, I'm going to make certain it's done right.  I’m not going anywhere; we’ll have a lifetime to connect.

As for upcoming releases, I recognize from projections that the bulk of my fan base and supporters (quite naturally) have been women.  So Kosher 2.0 will be liberated this fall along with J.C.L (Just Can't Leave).  Both were completed (the rough mixes) in 2015 so I have an archive of content.  To expound a bit on what I consider my archive, I've been writing quality lyrics since 1997 and there hasn't been a year that I haven't written at least 8 songs.  Some years begat upwards of 20, but never have I fallen below 8.  Now, as for performing, I had to extract myself from it and it's not like I was well known during that time, but life took its course and some things were put on hold.  Writing was never one of them.  I share this to inform my supporters that I have a lot of content to put out that will be somewhat toxic if released "as is"; it is who I was at whatever time period I created it....I didn't become The Elixir overnight.  But those experiences I was blessed to fulfill equates to the God Moore I am at current.

Anywhere online where curious fans can listen to your music and find out more about you?

Indeed, I'm on every major music and streaming platform globally for those who wish to listen to my art which can be found on Spotify, Tidal, Pandora, Deezer, YouTube Music, Amazon Music, iTunes, Apple Music, you name it, I'm there. Hopefully, we can provide a few quick links for convenience after the interview is concluded.

Also, if you are a supporter, you are considered a member of the New Freedom Guild.  Don’t be hesitant in connecting with me.  I’m not on all social platforms, so the connections will be more personal.  Link with me anytime and when I’m able and time is ample enough, I’ll respond whether it be directly or live.  God Moore is more than a name....it's a movement for positive growth and universal evolution.  My ulterior motives extend well beyond the realm of music….when you’re given the mental capacity to upgrade and change the world for the betterment of mankind, and you’re provided a platform and a supportive following, you may tend to cater to obedience.  Within the facets extending from forward-thinking to technological advancements, my impressions will manifest.  In time, the revelation of this claim will be appreciated.  Love you all.  I humbly do this for ALL.

Health, Peace, and Prosperity.

Want to listen to God Moore the Elixir:

Spotify

https://open.spotify.com/album/7ckAcuHwFfiOfV8pCOZ4bh

Tidal

https://tidal.com/artist/15657257

YouTube Music

https://music.youtube.com/playlist?list=OLAK5uy_lDAkCqc4uZiNcQki6Drqwv8HNPpOe-IJc

YouTube

https://www.youtube.com/playlist?list=OLAK5uy_k5ghJQF0RUxdt--KT_aD-sZ9seUs9giOc

Amazon Music

https://music.amazon.com/artists/B07R7XXTSV?ref=dm_sh_QbwmIjh3QlD0EM7fC8YPoXJnc

iTunes/Apple Music

https://music.apple.com/us/album/passport-ego-sum-qui-sum/1462118607

Twitter

@MooreElixir

LinkedIn

https://www.linkedin.com/in/god-moore-the-elixir-009882188

To generously support The Parsec Council and The New Freedom Guild in our mission of forward advancing our world.  I do shout outs on LinkedIn, Twitter, and on YouTube Live:

CashApp

$GodMooreTheElixir

GooglePay

godmooretheelixir@gmail.com

PayPal

https://www.paypal.me/GodMooreTheElixir

YouTube Live Channel

https://www.youtube.com/channel/UCU2GiMFC1WTuBXJlh-MfHuw

[vrheadsets]

VR vs. 10 Franchises SEGA Would Be Crazy Not To Bring To VR – Part 2

Hello everyone I’m back to talk virtual reality (VR) and the House of Hedgehog for another week. As you may recall last week on VR vs. I started a list of ten franchises (and one honourable mention) that would – in my opinion anyway – be great for the leap to VR.  SEGA is of course no stranger to VR down the years, there was the SEGA VR for instance. A headset which was initially designed with the idea that it could provide support for not just the SEGA Mega Drive/Genesis and the SEGA Saturn but the arcades as well. A project that would have seen a 1994 release date after being revealed at 1993’s Consumer Electronics Show (CES) event. This in itself is not to be confused with the SEGA Master System’s 3D Glasses that allowed you to play a number of titles in quote-unquote “3D”. Yes such things existed.

But enough of the hardware of the past let’s get back into those games franchises, eh? What else, via way of a lick of virtual paint, could hypothetically make its way to modern VR? Well when it comes to SEGA sometimes you’ve got to make some tough choices (as any long time SEGA fan can probably tell you) and when it comes to this list there’s one or two games that could easily occupy the same space.  Such a dilemma can be found with our next title, it was a tough decision in the end but let me explain my reasoning.

  Virtua Cop: OVERKILL

Admittedly having a game with “cop” and “kill” in it isn’t going to win much in the way of good publicity, but this combination name should tell you everything you need to know about where I’m going with this. For you see when it comes to VR genres we have the ever popular (and increasingly railed against) wave shooter, and it just so happens that for SEGA two franchises – Virtua Cop and THE HOUSE OF THE DEAD*. I could give you very good reasons for both being on this list but I’ve gone with Virtua Cop. Why? Because put simply we’ve not had a Virtua Cop game for nearly fourteen years.

FOURTEEN FREAKING YEARS.

Yet people still think of the series fondly. HOTD on the other hand has had quite a few iterations, is a staple of SEGA’s All-Stars franchise and has proven itself to be an arcade mainstay. In other words, if you’re going to use VR to help elevate some old properties why not help the one that needs it more.  Increase your viable library of characters. Increase the interest and hence their and your value. At the very least you’d raise some interest in getting some ports of the older titles going.

For VR the idea is simple. We have wave shooters, and the idea of having such a game where hiding behind some oh so handy barrel or outcrop of rocks isn’t 100% infallible makes it a far more frantic experience.

But what about the suffix? Well people familiar with HOTD will like as not recall the Wii game THE HOUSE OF THE DEAD: OVERKILL. UK studio Headstrong’s entry into the series took the franchise, supposedly back to the very beginning before all the nonsense at Curien Mansion and into the shoes of rookie cop and series protagonist Agent G. Except things weren’t quite as people were used to with the game. OVERKILL took the franchise to 18/R-Rated territory by spoofing the grindhouse genre. Partnering the straight-laced G with foul-mouthed Detective Isaac Washington a man incapable of finishing a sentence without a s***, f*** or m***********. (Except, ironically, at times when it would technically be accurate. Long story.) In fact there were so many swears it actually held the world record for number of swears in a single game for some time. Eventually only taken out by Grand Theft Auto 4 I believe.

The video below features some… examples of this. You have been warned.

OVERKILL might not have set the world alight with sales but it, along with another SEGA title, Platinum Games’ MADWORLD, certainly held up the ‘adult’ end of the Wii gaming spectrum. It was later ported to PS3 and given extra levels, ported to mobile and eventually PC where it was converted yet AGAIN this time adding old SEGA favourite THE TYPING OF THE DEAD into the mix. Four games from one game. Not bad going, huh?

The point is OVERKILL was very tongue in cheek about the franchise’s own foibles, and that’s in a series that was already very self-aware. It was so fresh and different why not do a similar trick with Virtua Cop? Turn it into a self-aware parody of all those 80’s cop shows. Or even the 90’s, you meta humour all over the place then about old VR tech. Make it these two ridiculously out of touch cops dealing with endless suited gunmen in shades, ninjas and all the other lightgun game staples who for some reason think this is perfectly normal. Make it Miami Vice on acid with smart mouth and a stick up its ass. Make Virtua Cop but HOTD: OVERKILL.

In VR.

Then let me know so I can buy it.

Thanks muchly.

NiGHTS

NiGHTS is a pretty deep franchise, if you did but know it and one I have all the time in the world for. Not only do they have the most friendly fanbase I’ve ever met (no really, they’re all lovely) the game is fun, scary and promotes an array of ideas that would be very interesting to explore in VR. For a start there’s the obvious connotations of dreams and nightmares, and Sonic Team had no problem going dark. This shouldn’t be a massive surprise since in one of their games they once showed the moment a little girl gets shot for goodness sake**.

But NiGHTS isn’t just about dreams it is about the psyche itself.  The original idea is based on the works of noted psychoanalysts Carl Jung and Sigmund Freud.  The ideya you collect are aspects of the Id – your personality traits. hope, growth, intelligence, purity (white) and lastly courage (red). Even their colours weren’t chosen randomly. The game deals with the topics of freedom, confidence, growing up, parental issues, loneliness, friendship, the idea of two people sharing the same experience and trust. NiGHTS is after all actually a Nightmaren – the bad guys. Trusting the person based on their actions and not on the preconception of where they were born is also something NiGHTS (particularly Journey of Dreams which has more of an outright story) touches on.

It is also about freedom and flight. So I want you to now imagine a first person NiGHTS game, one where you actually get to feel the simulation of flying, where you travel through a colourful level doing tricks and collecting… balls. And things. Now take that landscape with its SEGA blue skies and popping colours and what if we added a touch of Nevermind to it? What if the game reacted to your character’s welfare and became more dark and twisted the closer you came to running out of time or whenever you take a hit?  It’s not that far fetched. The various levels in NiGHTS, the world of Nightopia is shaped by the Visitor (your character).  The levels are given subtitles such as “The IDEAL”, “The POSSIBILITY”, “The CONFUSION” and are all based on relationships and aspects of their lives.

The feeling of flight and a bit of psychology. Sounds interesting?

OutRun

We all know that driving games can be translated over to VR, some of which can be done very well indeed. But what about SEGA? It has a number of driving franchises that you could port. But All-Stars Racing was never going to be on this list. SEGA Rally was a distinct possibility but no, I turned down that too. Initial-D was a strong contender considering its arcade longevity and popularity specifically in Japan.  But ultimately the choice to fill this spot can only be OutRun.

So why OutRun over SEGA Rally let’s say? Because SEGA Rally is a game and OutRun is both a game and wish fulfillment. OutRun has, for decades, been not just about the game but about going as fast as possible in a sweet looking ride to impress the girl. About owning a Ferrari and being the personification of cool. It sells you a fantasy, one that gives tremendous satisfaction. A ‘long-medium right’ done well is one thing, but it doesn’t match slamming the steering wheel to full lock as you drift around a car and through a narrow gap between two buses in your Testarossa (or a British racing green Ferrari F40 if you’re me). It just doesn’t.

Taking a first person viewpoint and actually living the ride would be quite something. But there’s another reason VR would be an interesting mechanic for OutRun. Do you not remember you have a passenger in your car? A passenger who is very… needy in her desire for you to GO FAST! KEEP PASSING CARS! ETC! As she either falls in love with you or, you know, violently berates you because you clipped a barrier. If you’re actually in the car with her it gives the game an extra dimension as you’ve got to check how your would be lady (or gentleman – I think some choice on who your passenger and driver is should definitely be included at this point) friend is reacting to the ride. They also in doing such act as a distraction, and OutRun is always a balancing act – particularly in Heart Attack Mode – of balancing speed and safety.

For me it’d be a very interesting mechanic to explore.

  That’s all for this week. Next week we round off the list some more games including one I suspect none of you will have guessed is on my list. Until then!

* Old SEGA employee note: For some reason THE HOUSE OF THE DEAD is always supposed to be shown in capital letters. It’s part of the branding guidelines. If you see any SEGA official messaging with the game not in upper case it has actually been done wrong. #TheMoreYouKnow

** In Shadow The Hedgehog the moment young Maria Robotnik is fatally shot by government soldiers sent to wipe out the ARK facility is actually shown in the light of Shadow’s eyes at the end of a flashback. That’s messed up, Sonic Team. 

from VRFocus http://ift.tt/2kL6imI

[riffrelevant]

(By Pat ‘Riot’ Whitaker*, Senior Writer/Journalist, RiffRelevant.com)

The most recent Labor Day Weekend here in the U.S. – specifically Saturday, Sept. 1 and Sunday, Sept. 2 – would see the inaugural Heavy Mountain Music & Beer Festival get underway in beautiful Asheville, North Carolina.

Over the span of those two days, in two different venue locations, The Mothlight and The Orange Peel, bands of varying genres would share their aural wares. I found myself in Asheville, as I often do, present and prepared for these back to back days of underground music.

The following is a brief take on those events, which began with a sold out Day 1 at The Mothlight featuring the bands BASK, TOKE, TEMPTATION’S WINGS, and GREEN FIEND.

GREEN FIEND

First to take the stage this evening before a standing room only crowd would be Charlotte’s GREEN FIEND, a band I was admittedly unfamiliar with prior to this show. My naïvety would not matter, for good music is always the ideal ice breaker, is it not?

This crossover metal quintet were more than ready to kick things off, diving right into things with a furious set of metallic genre-mashing mania. Taking bits from such stylistic stables as thrash, doom, hardcore, and sludge, GREEN FIEND fired the crowd up and set the bar high to reach for the night’s remaining acts.

Check out the fan-filmed video clip below (courtesy of Tym Ghoulston) of a GREEN FIEND original, “Weed And Speed“, and a follow-up that finds them sludge the crap out of Eric Clapton’s “Cocaine“.

TEMPTATION’S WINGS

Next up were AVL’s own TEMPTATION’S WINGS and tonight’s gig was one I was especially interested in, because it would be my first time seeing the band since they recently mutated into a quartet. Though I did not know it at the time (but did half suspect), I was about to be super damned impressed.

Now possessing a dual guitar set up, that arrangement has resulted in a much fuller, thicker overall sound for the guys. It also allows for a lot of interplay between the guitars and is clearly a step in the right direction for the former trio. In the pictures shared here, you will notice a burlap sack on a stand that is eventually revealed to be the “decapitated” head of Medusa during their playing “Lair Of The Gorgon Queen“.

The guys also debuted a handful of new songs, revealing that they seem to be exploring some intense psychedelic elements in their current song crafting. It will be quite interesting to see and hear where their next album musically goes, after the breakthrough success of 2017’s powerful prog-doom effort, ‘Skulthor Ebonblade‘.

Until then, check out this video of the entire TEMPTATION’S WINGS live set – courtesy of Will Bouton & FUGO Films:

TOKE

With two down, there was now two to go, and next to commandeer the stage was Cape Fear’s own trio of amplified stoner doom ‘n sludge, TOKE. Always delivering dense, foreboding music with malevolent contents, the guys quickly unleashed an avalanche of crushing riffery.

Backing that onslaught was the plodding battery of the band’s rhythm section, one that pummeled and jarred every soul in the joint. TOKE wailed and wahhed away as only they do, slowly and with deliberate, harshly delivered drug worshiping lyrical themes and occult vibes.

Dig the live video rendition of “Legalize Sin” from TOKE‘s 2017 ‘Orange’ album streaming here.

BASK

Next up to bat were the night’s headline act, another local act that I personally believe are one of the most underrated / overlooked bands of them all in today’s scene, BASK. This Asheville-based band are one quartet that does not get the due recognition that I think they deserve, their music is just simply freaking amazing.

That said, we were now being treated to a blend of alluring progressive rock merged with a psychedelic profoundness that changes you upon the hearing of it. Grandiose and epic in scope, the dynamic spectrum of emotion and touching qualities of this band’s music is something that is not easily malleable into words. Attempts to do so miserably fail to relate the enthralling sonic journey that these songs are able to take you on.

Whether live or on album, BASK never fail to astound and impress me, and their set ending Day 1 of the Heavy Mountain Music & Beer Festival was no different. They provided the perfect capstone to this evening’s other live presentations from GREEN FIEND, TEMPTATION’S WINGS, and TOKE.

Unfortunately, no live video from their set is available, but below is an official video from their critically acclaimed 2017 album, ‘Ramble Beyond’.

Make sure to check out our wrap up of Day 2 [LINK], it includes photo galleries for that day’s bands – EXMORTUS, YOUNG WIDOWS, INTER ARMA, BLACK TUSK and co-headliners, OBITUARY and HIGH ON FIRE – plus, an interview with OBITUARY guitarist, Trevor Peres [HERE]!

*All photos and Temptation’s Wings live video courtesy of Will Bouton – FUGO Films & Photography 

Heavy Mountain Music & Beer Festival: Day 1 – BASK, TOKE, TEMPTATION’S WINGS & GREEN FIEND [Live Videos] (By Pat 'Riot' Whitaker*, Senior Writer/Journalist, RiffRelevant.com) The most recent Labor Day Weekend here in the U.S.