Bisius

How beautiful it is, I even got it original. 10 euros. No, I mean: 10 euros. Mon dieu.

Every time I listen to it, I get lost in it...

If this has become my album of the year, there’s a reason. Tell someone that "Post Crucifixion" kicks ass. But, make sure to say it out loud, please.

Not bad at all, even though it's dropped a bit for me recently. To make a comparison, between them and Dead Elephant, the latter wins effortlessly. But "Where Have All The Razors Gone?" is deadly. Deadly. I also have some reservations about "Putiferio Goes To War," which feels too stretched out (by the way, a quote from a very famous animated film from 1968). How about a 3.5?

Nice album, perhaps a bit heavy in the long run, and with some moments of fatigue that are, all in all, physiological (like "Anulikwutsayl," which should have lasted at least a couple of minutes less). Stunning "A Ride On Cottonfair," "Toys," and "Exodus." It will especially please those who denigrate the free Zorn version. Not a bad review, but then there’s that "scuarcio"... argh! It forces me to lower the rating.

Bartle’s comment should be hung on the doors of every Italian home, just like the lists of proscription were displayed in the forum of ancient Rome. I would like to add just a note to what has already been said: the album was developed with a much more hardcore approach than "metal" in the true sense, as evidenced by the simple and direct riffing, the high speed of execution, and the tremolo picking. As far as I'm concerned, you completely missed the point. @Franci: and I thought you didn't do coke... :D

I've been planning to write something about it for a while now, but time keeps slipping away for its own reasons, and nothing ever gets finished. An incredible brick, the album, but you said everything that could and should be said. It really wouldn't have made sense to say more than that.

The review is well-written, but fundamentally incorrect. The film does not begin with the shaving scene, but rather, as Psycho pointed out, with the sequence of Tsukamoto implanting a metal pipe into his thigh in the abandoned factory (many say it's precisely for this love of metal; I find the interpretation I read elsewhere some time ago very interesting, that he wants to become a super athlete, a Pistorius pro tempore, as after his act, images of Olympic athletes self-combust). He then runs away terrified as his leg goes gangrenous and gets pulled under by the employee in the car (Welcome to the new future!). The film is exceptional; really nothing to criticize, physically and scenically it’s extremely powerful, a smack in the head. The chaotic final scene with the merger of the two cyborgs (explicit scenes of penetration, with pipes instead of penises) and, at the end, the words on the screen, "Game Over," as if it were all a twisted video game... I also wanted to emphasize an element of the film that is often overlooked in favor of more shocking and impactful episodes (like the nymphomaniac girlfriend being drilled to death): hasn’t anyone noticed the central role that television plays in the employee’s apartment? Think about it: it gradually shows both the incident of the accident (initially, it’s not clear why we only see the two Japanese having sex under the eyes of the agonizing victim) and the emotional reactions of this victim as he begins to take revenge on the worker. In my opinion, it’s an additional denunciation, even more subtle and disguised, of Western consumerist society. For the rest, hats off to a film that’s truly difficult to interpret.

"I... was bulimic." "...were you reading my mind?!?!". :DDD

Everything's great, review and tragedy. However, among Sophocles' works, I prefer Antigone. Nice touch, Hetzer!