It pisses me off to know that every metal listener has to become a musician sooner or later (and I’m the only exception) but for the rest, it remains proletarian music in contrast to the bourgeois cesspool represented by indie and post-rock. more
I always tell the truth, sometimes. more
"How much better the Lake district has managed to create musically"??? I believe it, he’s the only one making listenable music here! Or even just decent music... Always around 5000 or more listeners, huh. I like it even if I don’t understand a thing. The laghèe is a language on its own, incomprehensible even to me who lives here. more
Italian pure alternative more
Three albums and nothingness. more
Although the setlist cannot be compared to those of “Genesis Live” and especially “Seconds Out”, the album stands out mainly for the grandiose technique that has never wavered among the musicians over the years. more
A kind of concept album on the Old Testament (from which the group's name will be derived) with a classical tone, strongly self-produced and at times cloying, although cloaked in a strong vein of innocence and naivety. Pleasant all in all. more
Second progressive stone that continues the journey of their symphonic and romantic masterpieces, a sequence that will end in the distant 1977. The Genesis with "Nursery Cryme" achieve a strong musical harmony, and their qualities as excellent musicians are already evident: just think of the cutting guitar incursions of Steve Hackett, the crazy rhythms of Phil Collins behind the drums, or the keyboard minimalism of Tony Banks, the true pillar of the band. more
Some of the best things of the last 30 years come from here. Not that the worst haven't taken the same path, but the vote goes to the former. more
In its entirety and in its sound delivery, “Selling England by the Pound” is the symbol of a generation, of a musical movement, of the whole seventies imagery regardless of its outstanding content. The seventies, after the incursion of new genres like punk rock and the paranoid New Wave, will never reach these heights again. It is therefore permissible to think of this album as the ultimate milestone. more
If "Abacab" featured acceptable ideas and "Genesis" showcased an entire side played excellently, in The Invisible Touch, almost nothing is salvaged: it's a dull, murky, cacophonically terrible album. more
“Genesis” is an album that shows a significant creative and qualitative gap between the first and second side, with an abyssal compositional distance. Despite this, the record (like the two previous ones) sells in an outrageous manner: the band is now the queen of the obvious Top Ten melody, of the soulless and empty music typical of this decade. more
The definitive dive of Genesis into the squalid mainstream music typical of the eighties, coated with polyphonic keyboards, filtered drums, and electronic basses. The horrid cover is enough to justify it: where are the foxes, the music boxes, the little critters from the tail trick? They are now something of the past, anachronistic for those times. more
Probably the last valid major testimony in the pop realm for our generation. Long detached from progressive sounds, the album is much more compact and polished in its pop-rock boldness. The latest jewel from Genesis that stands out with mid-high standards; the genre is pop, but it's never trivial or predictable: it's classy pop. more
A record that marks the gradual detachment of the band (or what sadly remains of it) from the romantic suites typical of the seventies towards catchy and easy-listening pop. Nevertheless, it remains a really good and underrated album that at certain points offers excellent ideas. more
The Genesis of the mid-seventies continue to showcase their unlimited creative vein and within a few months of The Trick of the Tail, they compose their final masterpiece, their swan song. It is the second technical-compositional peak of theirs in just twelve months; it reaches a vigor that touches exquisite heights. From this, it is clear that Peter Gabriel is now just a pleasant memory. more
one of the classics of the Gabriel era. Although the album is released just over twelve months after their debut, a significant improvement is immediately noticeable in both the musical and lyrical aspects. Their first progressive milestone. more
A splendid and grandiose romantic fresco with jazz-fusion incursions, as well as an album of homogeneity and sonic compactness not seen since “Foxtrot.” In some ways, the album represents the technical and compositional peak of the quartet: indeed, paradoxically, with the farewell of Peter Gabriel, Genesis had more compositional freedom in the studio. more
The first and true album that sought to go beyond the mere definition of progressive or art rock, to transcend and explore the points that characterize the same genre and to stitch them together at will. The double LP presents a strong detachment from the harmonious and melodic sounds that have characterized Genesis's career up to this point: these are projected more towards a not extreme, but conventional experimentation according to the band’s standards. The album is therefore permeated by powerful sounds, more
The pillars of Hercules of this monumental live are the progressive testament of Genesis, containing all the skill and technical perfection the group had managed to achieve in the seventies. A cornerstone. more