hjhhjij

At the cinema, it’s an experience; all the lyricism and power hit you right in the face. A true masterpiece, the best by Leone after America.

for me too

I would add that in the splendid "Murder of Maria Marten," Thompson's electric guitar manages to carve out a very pleasant, albeit brief, solo space.

But it seems like total masturbation, a sign

It's movie timeee, tomorrow.

Famous murder with a ghost, of course.

It lasts 7 minutes, not two hours, but okay ahahahahha

Statisticssss

I need to finish it first haha

To be explored

I thought you had already hooked it up during your British folk binge ahahahha it's a classic of the genre, it will satisfy you.

I need to delve deeper into many things, the problem is always finding the time, I'll take note of it because it interests me a lot.

I know, two lifetimes wouldn't be enough for all the things we would like to listen to.

Damn, what a depression hj

But is it my comment or the record you're talking about?

The comment ahah

Ah but ahahahhahah no, it's just obvious realism, there's too much stuff, I mean you can't just do like Scaruppo who listens to an album halfway and moves on to the next one. Not to mention the classics and the albums you know by heart but keep returning to, it never ends.

"Not to mention the classics and the albums you know by heart but always return to, you just can't get enough. Right, and I’m reading it during yet another replay of the wolf's song."

And I'm glad that this record has intrigued a couple of people anyway.

"The brutal priestess of Dark-Punk from the late '70s is now beautifully…" continue, I'm interested. Did you eat half a sentence?

or all?

ah, now it has all appeared

Okay, the problem resolved itself in my absence :D

However, there's an extra "is" you cow whore.

Oh, Love
Like liquid falling

You who collect the Slayers?? Do you happen to have the flu? Ahah, just kidding, it's just that I'm not used to hearing you talk about trash/heavy metal.. cheers, happy new year!

Ahahahaha :) I had already collected it but I gave it a 1 because this record made me sick. Then my tastes changed a bit and I reevaluated them, especially this one. They amuse me. Trash in general still doesn't say much to me though. Happy New Year to you too.

I've never loved the genre that much, maybe something from early Metallica, a little bit of Megadeth, but in general, I'm a big fan of '70s hard rock. Anyway, this is a good album; it reminds me of the "walkman" on the school bus...

Much better than Metallica and Megadeth. I really appreciate their Hardcore influences and contaminations, something that, for example, Metallica definitely doesn't have. I consider the first three of the aforementioned nice, but I haven't listened to them in a while, so I might end up reevaluating them like I did with this one :)

I am selling Reign In Blood and Hell Awaits, Dutch vinyls in excellent condition, barely played, 50 euros for the pair plus shipping costs.

I don't agree with the statement: 4. Much better than Metallica and Megadeth. Technically, there are some pretty tough things from Megadeth.

Technically, I couldn't care less and anyway, it's not an objective judgment.

I didn't understand the speech about objective judgment.

Anyway, there's no need to get worked up.

We're talking about music.

I want to say that I care little about technique, especially in this area, and that for me, the Slayer are simply much better than the Megadeth, technique or no technique, but this isn’t meant to be an objective judgment. Captain Obvious? Never mind :)

But I didn't get worked up; I just said that I'm not interested in the "technique" discussion. That's just a means, valid or not depending on the circumstances.

Don't you prefer a metal piece with a well-executed solo?

No, better a Metal piece without solos :D A Metal piece with a solo is, for me, a dead Metal piece. Jokes aside, it depends on the type of Metal. I’m not a big fan of Thrash, and I definitely prefer the Hardcore influences (which I really like) of Slayer over the solos of Megadeth, which I’m sure are very well done, but they give me the same emotions that a rock can feel.

I don't agree about the '90s: At least Dirty and Washing Machine are on the same level as this one, in my opinion.

They are very beautiful albums, especially "Washing Machine," the best post-this one, but they lose a bit on a whole series of things, certainly very personal and subjective, which range from the atmospheres and the images evoked by the first 5 albums (different, obviously, from each other) to the overall quality of the tracks (which remained high even after, of course) to the ideas and sound inventions. I believe their best drive came from 1982 to 1988 but without taking anything away, truly, from what they did afterward. I don’t discard almost anything by Sonic Youth except for 2-3 more recent albums, which seem like fluff compared to all the beautiful things they created.

Fluff in the sense, these few mistaken albums in the end, with what they gave us before (which they never really messed up, even the less successful things were theirs, you know, poorly executed, but still theirs).

I must say that I greatly prefer the two mentioned from the '90s over Evol and especially over Sister!

It's a matter of taste. By now, I know your tastes well; I know where your preferences usually lie, so I’m not surprised. But I can't agree at least with that "Gran Lunga" :-)

Oh, but of course! Of course you can't agree. What has always seemed evident to me (hence that "Gran lunga") is that the average level of song composition is significantly higher.

Explain that "average level of compositions" though (I don't think either of us is an expert in musical composition, I think, or did I miss something) because to me it’s a matter of different stylistic orientation and not quality in the compositions, which in "EVOL" and especially in "Sister" are seeking the perfect hybrid (aka "Daydream Nation") between noise experimentation and a more "indie-rock" vision of their music. In particular, "Sister" has, what might be for you its limit (?), that more "rocker" spirit and the more communicatively urgent approach of the band, the more direct and therefore less calculated, composed, and "refined." The things from the '90s, at least some of them, are cleaner, more normalized, of skilled craftsmanship, but I don’t think this is actually a factor that can be attributed to better compositional ability. If, on the other hand, you believe that the songs in "Washing Machine" are better than those in "Sister," which is quite understandable given the nice differences between the two albums (and there's an 8-year gap, a lifetime), this is also a matter of your musical sensitivity, perhaps leaning more towards their "refined" sound (so to speak, it's still Sonic Youth) but not a real compositional discriminant. Putting aside all the rambling, I must say that objectively in "Sister" the urgency I mentioned earlier leads in some songs to effective but somewhat limited compositions, so a bit of lesser compositional inspiration makes sense, in my opinion, but I don't find it that relevant or that stark compared to the subsequent albums. And I really don’t see it at all in "EVOL," which is perhaps, although objectively "transitional," a bit paradoxically their "perfect" album alongside Daydream. I then don’t care because nothing and no one will take away the crown of their best album from "Bad Moon Rising" :D

Great topic and great discussion, which is very dear to me (the one about compositional quality/better songs, which I actually see as synonyms): no, my point is not about differences in sounds, it's a matter of quality. The inspiration of the melodies and the construction of the piece, I don't know how else to explain myself, so I’ll try to illustrate with an example. Think of a Beatles album where all the songs are as beautiful as, let's say, "While My Guitar Gently Weeps" and another one where all the pieces are like "All Together Now," or a Pink Floyd album all on the level of, I don't know, "Comfortably Numb" and another all on the level of "San Tropez": now, I may not be an expert in musical composition, but the difference in quality seems evident to me. That "a bit limited and somewhat less inspired compositionally" that you also mention for "Sister" (indeed, EVOL is, from this point of view, far superior for me too), and so I see that we understand each other, I see it as "very limited" and with a compositional quality that clearly drops, both compared to what came before and what comes after (I consider the difference with Daydream Nation enormous, hardly comparable).

As the good Vincent said in "Pulp Fiction," "We’ll continue this later." Now I'm off to watch "The Favourite."

"of quality. inspiration of melodies" Eh but this is a subjective criterion see? For heaven's sake, absolutely sacred. But even though it’s obviously true that compositional quality = better songs, we need to see from which angle we are looking at this compositional quality, what they are composing, in what genre and in what attitude should it be framed? Not to mention that the "best songs," if we take this point for granted, become very subjective and subject to our tastes and sensitivities. A bit more "objectively," it must be said that the writing of "Sister," even though not always at the highest level (but for me largely it is), actually works quite well at a time when they were more than ever trying to combine their experimentation with a song form that is much more "direct" ("Hot Wire My Heart" is illustrative from this point of view and in my opinion is an effective little Sonic Youth-esque song). It might have a couple of less interesting songs (which is not the case in the previous or the subsequent albums), but that's a minor sin; other songs are of excellent quality, perfectly in line with what they were trying to do at the time. Ultimately, I simply think that you didn’t particularly like the songs, but that’s more attributable to taste than to any decline in their compositional inspiration (yes, okay, a couple of dips in tone, it doesn’t always have the expressive strength of Daydream, its compactness—despite being shorter) that you "perceive." For instance, I’m not saying that in "Goo" or "Dirty" they are composing less well, with fewer ideas; they were changing style and the level of the songs remains good, but for me, the strength of the writing indeed diminishes because I preferred the way they did it before. The discussion is strange and intricate because it’s inevitably filtered through our subjectivity even though there are also some objective parameters out there, there, somewhere, BEHIND YOU!

True, the discourse is quite complex: I essentially agree that without a doubt, as always, the subjective factor is at play, just as it is also true that there are in some ways objective factors (otherwise, picking up on the example I made above, one couldn't even claim that Comfortably Numb is superior by a galaxy to San Tropez, and I would say objectively, yes) that make you realize that a certain piece is better than another. Then again, I pulled out a couple of striking examples of qualitative difference: often the discourse is much more linked to "nuances" than to a "black/white" perspective.

Not bad as a debut, really not bad; and it already contains a masterpiece: "The Burning Spear."

Milestone.