#at least outside of the point of Laura who Mary wanted to adopt later

[cainite-bite]

While ultimately i want to see the silent hill franchise back, I am awfully disappointed it has to be 2. Not just because my bias of it being my least favorite in the franchise, but just the fact I feel there were other games that could have used it better, like you know... the first of the franchise that kicked the whole thing off. Especially since 2 and 3 already got (shitty) remasters and is a lot newer to people than half the franchise.

I know they’re just trying to go with the safe, what they are thinking is going to be the cash cow route, but I still just wished it would have been SH1 still.

That being said I hope they can actually do better for 2 and fix up some of its weak ends and fix up some of the characterizations going on  in the OG. SH2 has a lot of potential easily and I’d like to see that get more expanded

[oneweekoneband]

Scrambles

To me, at least, this is the big one. I originally listened to BTMI!’s discography in chronological order, but if I was trying to get someone into them right away, I would probably tell them to listen to Scrambles first. As a collection of great songs, as a coherent album, as a testament to what BTMI! could achieve, it’s my first pick by...well, not a long shot, considering I love a few of their other albums almost as much, but I will say that it always comes out on top in my rankings.

Of course, there’s a lot of personal bias here; Scrambles came to define my high school experience in part because of its regrettably-relatable lyrics that convey an all-consuming anxiety and frustration with the world around you. That might seem like a strange thing to experience nostalgia for, but for better or worse, that is exactly what it invokes for me.

It’s a cliché that high school is a stressful time – though I think people who say that tend to be thinking about the pressures of trying to “find yourself,” “fitting in,” gaining autonomy from parents, etc. I’m not saying that those things didn’t concern me, but for some reason my anxiety about the future was running something like a decade ahead of me. And so I found myself imagining a future in line with fears about what might happen if I followed Jeff down the path of “Stand There Until You’re Sober” – unable to move forward in life “’cause I can’t grow up.” The songs on Scrambles took this kind of stress one step further, and I found myself identifying with the chorus of the Springsteenian anti-anthem “Fresh Attitude, Young Body”: “If you don’t find a steady job now, / If you don’t find someone to love now, / Oh, you will die freezing cold and alone.”

Is that ridiculous, for a high school kid to be thinking that far ahead? I still don’t know. Capitalism puts an absurd amount of pressure on people to decide what they want to do with the rest of their lives from what feels like a young age, and I was facing a serious dilemma that a lot of musicians face: I wanted to try playing in a band for a living, but I also wanted to have some kind of stable future...and unfortunately, these two things rarely go hand-in-hand. So I worried a lot over whether I would be able to make the right choice for myself; would I move on with my life and get a job that I probably wouldn’t like, forever resenting the fact that I didn’t choose music? Or would I choose the music and watch my life fall apart because I wouldn’t be able to earn enough to gain any kind of independence, still living with my parents like the narrator of “25” (which is, by the way, one of BTMI!’s catchiest-ever songs) at 25 years old? Many of the songs on this album perfectly capture that tension, which I think extends beyond my own specific situation – anyone who’s felt the crushing pressure of a hegemonic system coming down around them, whispering threats of a future spent scrambling to catch up with their peers in their ears when they can’t sleep at night can probably relate to the lyrics of this side of Scrambles.

There’s the personal angle, but then there’s a social/political one (which wasn’t entirely without personal meaning to me – but I’ll get to that in time). “9/11 Fever” mocks the ultra-patriotism-turnted-opportunistic-exploitation that so many American engage in for the anniversary of the terrorist attack. And while that’s the most overtly political song on the album, plenty more go for the throat on issues in the politics of the punk scene. “Stuff That I Like” rides a killer riff as Jeff skewers the “fucking cocaine parties” that “fucking freak him out” (another gem later on: “I gotta take a piss in the cocaine room, / What is this? The line for lines? / It’s a long line for lines.”), as well as the “booming bass and the shitty DJs” of the clubs. The song ends with a condemnation of the limited possibilities of “going out” to “have fun”: “The gates rise up like / ‘What’s up? You’re in prison, confined by alcoholism / And lack of better decisions for having fun on the weekends.’” “Gang Of Four Meets The Stooges (But Boring)” attacks bands that purport to be on the “cutting edge” but have no respect for the other bands they share a bill with.

Best of all is “(Shut) Up The Punx!!!”, a mile-a-minute monologue from Jeff on the fucked up “holier-/hipper-than-thou” attitudes that make the punk scene look bad from the outside set to one of the band’s most frantic ska-punk freak-outs. The lyricism in this song is really on another level – take just the second line in: “When we all march to the beat of the same different drummer, / The steps start to come off like clockwork.” And for all this wordiness, Jeff somehow manages to make the phrasing fit rhythmically into the song, using the intensity of the music to emphasize key parts, eg. the swelling of horns leading into the descending breakdown that matches “I’d rather be vomiting and I despise vomiting and BLECH!” The chorus sums it up: “This non-conformity feels like conformity, / Why should anyone believe in our community? / This organization doesn’t feel like anarchy ‘cause / We’re suiting up to have the same identity.”

My love for this song is intimately connected with my feelings on the state of punk rock circa my time in high school (and the first couple years afterwards). Jeff mentions in the notes on Quote Unquote that this song is about “a very small portion” of the punk community that he’s met, and I believe him, but to this kid who spent his adolescence stuck in the Canadian capital Ottawa, an unsurprisingly hostile environment to the development of a healthy punk rock scene, it feels like this song was about every second band I’d heard of. The too-cool-to-care hipsterism of the early 2010s was in full swing at that point, and many kids I knew had fallen into that attitude. And the musical tastes and scenes followed suite. There was a bizarre amount of implicit pressure to identify a band with a specific sound or scene, adopt a particular fashion sense or way of performing that played to audience expectations within a certain genre. But in spite of all this, I felt like I couldn’t just sit and stay angry about it; the dismal state of affairs was also a cry for help, a call to action to change the way things were. That’s why I love the fact that “(Shut) Up The Punx!!!” is more than just a stream-of-thought criticism – the lyrics were inspiring to someone like me who felt disillusioned with the very scene they aspired to be a part of: “Smile big, hug bigger, talk big, act bigger, / Stop judging do something, shut the fuck up do something!”

There’s the personal anxiety angle, and there’s the sociopolitical angle, but some of the best songs on Scrambles just do a great job of capturing specific feelings. The lilting “Wednesday Night Drinkball” (which feels a bit like a sequel to “Stand There Until You’re Sober” both musically and lyrically) starts with a great example of this: “There’s nothing less fun than being exhausted / From hours of not doing a damn thing at all.” “Saddr, Weirdr” is a reflection on the loneliness of moving, which, while packed full of wacky percussive noises and bells, also contains a rather poignant observation that always gets me: “I just threw out another gift, / I know it had a bit of thought but / Mary we won’t talk soon, / I have no use for Crocs now, / And I have no use for gifts.”

“Sort Of Like Being Pumped” closes out the album by putting one of those feelings that can be hard to describe into words. On a quiet, muted guitar accompanied by a rather beautiful (if you can believe it) banjo riff that phases in and out of the mix, Jeff describes one particular moment at the end of a workday when he watched the sunset from the train home. In addition to the simple but important sentiment conveyed about appreciating brief moments of happiness, the song also once again demonstrates Jeff’s knack for the killer phrase, the one line you can repeat until exhaustion: accompanied first by Laura Stevenson’s harmonies, then exploding without warning into a blistering punk outro, we hear over and over again the chorus that stresses that one brilliant instant, a seemingly never-ending build-up to the climax as if Jeff is trying to drag it out as long as possible, maybe make it last forever: “When I saw / When I saw / When I saw / When I saw / When I saw / THE SUNSET!”