mementomori

wonderful album...if in some ways it falls short of Individual, with this work the path of death becomes increasingly personal and autobiographical...I believe it's right not to include references, also because there are no real references: the proposal is so original and fucking made in shuldiner that it's impossible to think of a frame of reference...the cutting voice, the surgical riffs, the millimetric drumming no longer belong to death metal, they are beyond (but not prog, in my opinion...). spider, if you really want a comparison it could be heartwork by carcass, for the skillful intertwining of violence and melody, but in my opinion here we are on another planet, this is existential death, every note a feeling, every word a treatise on sociology/semiotics...

Nice review, Hugoniot. I'm not quite sure what the content of the CD is, but the suggestions are good. I was wondering, since it seems you're an aficionado of the Nostro: should ZOrn be indulged in everything, even when he makes mistakes (and thus we should roll up our sleeves and apply ourselves until we reach the conclusion that they’re not mistakes), or can we just let it go and calmly acknowledge that they are mistakes without overthinking it?

I have tears in my eyes, for the album and for the review... well done Enea! I wanted to do it too, but I would certainly have been less competent. I might even read the other episodes, of course not because I didn’t enjoy it...

to be consumed preferably on your knees, with hands to the sky, mouth wide open, the thread of drool hanging from the chin and eyes rolled back. amen

eeeeeeee how sentimental you are... American death is more pragmatic, as is the American mindset, but it has its charm, indeed! You talk about warmth... well, "Sound of Perseverance" (the last album by Death, even if it's no longer death) is a true diary, if not a spiritual testament, given how autobiographical and heartfelt it is... And Morbid Angel are geniuses, come on, the guitars are spectacular, every solo is pure expressionist art, and those abyssal blends, those claustrophobic settings, what sublime visions I have when I listen to them! And I think even that somewhat mistreated "Formulas Fatal to the Flesh" should be reevaluated (but maybe it's still too early, it will be understood in 2020 given how ahead it is!)... As for European death, I would certainly include Entombed and Pestilence, but Dark Tranquility, In Flames, and all their beautiful companions kind of get to me... tastes...

No Sciacallo, in fact I really like Eno's ambient phase, and perhaps I prefer it to the rest of his work. I used the term virus simply because it seemed to me that from a certain point onward this way of understanding and making music has insidiously infected Eno, even before his collaboration with the Cluster (though it's true that the Cluster accelerated and made that process conscious, which had already been underway since the times of Another Green World). From this perspective, Eno seemed to me almost possessed, obsessed with a whole series of reflections concerning the relationship between music and space, the issue of objectivity-subjectivity in music reception, and the theme of the diminishing role of the musician within the creative process. A progressive process of alienation that struck me as almost a disease. But this, of course, does not mean that I dislike any of it—in fact...

deathinaug, but not even the morbid angel? Sure, it’s a genre less intense than black, and it’s true, it seems to lead nowhere, but that’s the beauty of it: brutality for its own sake, the growl that warms your heart, the riffs that make you headbang, the three thousand tempo changes that rattle in your head...come on, try listening to Cause of Death by Obituary again, it’s so nonsensical: songs that vanish into nothingness, words spit out, nonexistent structures...but at a certain point, it hits you just right, trust me...

However, if you start by saying that you're not a fan of Chuck Schuldiner, you're off on the wrong foot, gatt! He was undoubtedly one of the best in the metal scene, never missed a beat with Death, and if I really have to find a flaw in his career, I look right at this album (but then again, I don't like power...). Moreover, it seems out of place to talk about prog... it strikes me as rather a classic metal that's very robust and ultra-technical, although perhaps the only way to label this album is simply "Chuck Schuldiner," since every passage shines with the unmistakable style of this artist who managed to forge a new genre (death) and to improve himself until the end, becoming something indefinable. As for the vocals, I agree, the guy involved for this occasion is zero charismatic, and while he’s talented and versatile, he comes off as lacking impact and too dispersed (not easy, though, to sing over this continuously evolving stuff!)... and if you think that originally, it was supposed to be sung by the singer of Nevermore, then the frustration really sets in... deathinaugust, are you so incorrigibly black that you can't like Death?

Well, at this point I think I'll really have to buy it... it could last for hours and hours without saying a word, and I would have read you intoxicated... can you make a couple more?

bartle, mine was more of a comparison than a critique of Corman (who, alongside that crazy Price, has delighted me on multiple occasions); more than an analysis from a cinematic perspective, it was a parallel between the more pragmatic approach of the Anglo-Saxon world and the more morbid one of the Latin/Italian world... instead of Corman, there could have been Romero, and instead of Bava, Argento (or even Franco, if we broaden the scope to the entire Latin area... nothing personal, then...