Hardrock92

What keeps me away from this book is my father's colleagues who find it exceptional, nothing to say if it weren't for the massive dose of pretentious radical chic they're equipped with. Well, the impression this book gives me is exactly that of a novel you read just to seem more chic. And if you're also radical, even better :-D

King is one of my favorite writers; his first 4 or 5 books are masterpieces... then he continued with a certain inconsistency, alternating good books with some very mediocre ones. His last great novel is Blaze (which is actually an unpublished manuscript of King’s from the 70s found by his wife). In any case, he is capable of writing, so even though the stories may not be the best, they always have the added value in the psychological profiles of the characters. I truly believe that King is the best "finder" of the perversion rooted in all seemingly ordinary people.

The song of the sun reminds me of the years in Boy Scouts :-D

like many others, perhaps too many I think...

Oh, know-it-all! You just made me happy (I thought I was the one who "didn't get" the album) :-D. I have to say that the audiobook of Uochi Toki, staying within the Italian scene, I really like a lot; like "Sfortuna" from Fine Before You Came for example, or King Bong (recently discovered thanks to Bartleboom :-D). Anyway, it's pointless to deny that I expected something mooooolto better and also different from the theater.

The album, in the pop mtvtian context, is quite decent... tracks that are easy to listen to, have atmosphere, and sometimes feature interesting ideas. There are also some crappy songs like "lost," but since I don’t really care much about Coldplay anyway, I can overlook that. I’m not sure, though, if the album belongs more to the English band or to Brian Eno. What I do know is that I enjoy listening to it without feeling nauseous, which is what happens with my Muse, for example.

Evidently, I’m the only fool for whom this album continues to leave a feeling of... I don’t know, maybe incompleteness; all this enthusiasm seems really exaggerated to me. For you, “A Sangue Freddo” grows with each listen, but to me, it becomes more and more lackluster; “Terzo Mondo” and “Mai Dire Mai” have parts that are even irritating, and I almost always skip them (it doesn't happen often that I do this; usually, I can tolerate even the tracks I like the least when listening to an album). “Alt,” despite having its merits, still completely sucks for me. “Due” is fun (the lyrics are among the best), but it doesn’t go beyond that. In the end, out of 12 (I think it’s 12, right?), the album has 3 truly essential songs: “Io Ti Aspetto,” “A Sangue Freddo” (deliberately catchy and engaging in my opinion), and “Padre Nostro.” If we want, we can also add the interpretation of “All'Amato Me Stesso.” The rest I can only label as “interesting” in some cases.

I would have loved to be here. Even just to see the big David...

Well, it’s still a pleasant album to listen to, but very predictable. "God and Satan" sadly reminds me of any English radio song. In short, I wouldn’t say it’s rubbish (considering it’s Biffy Clyro, maybe I would), but it’s really too basic. You listen to it once, twice, three times, and in the end, you think that if you had only listened to it once, it would have been the same.

Great review. I confess, though, that I’ve listened to two albums by The Horrors (I think they’re the only ones :)) and frankly, they seem quite anachronistic to me, meaning they sound new wave in the end. Perhaps live they modify their sound and I would marry them, but on record I find they’re really nothing special, just for some nostalgic of the 80s new wave indeed.