mementomori

But they started screaming again, or has von Till definitively settled into the tones of a constipated woodsman from TEOES? The phrase that troubles me the most is "There is no dispersion in the latest Neurosis album," given that I love meandering and frayed sounds. Anyway, good review, perhaps a bit too concise (I would have appreciated a minute-by-minute account and a thousand mental gymnastics, considering the significance of the release!)... today I will make the purchase, so the album commentary will be coming in the next few days... but something tells me that however it goes, it will be a success!

Yes, without a doubt Moretti's best. It's a shame that later on, while still maintaining high standards ("la messa è finita" and "caro diario" above all), he will fold back into himself... despite remaining a non-director, here he managed to achieve a perfect balance between drama and typical Moretti-style.

The beauty of Debaser is that it brings back to mind albums you've completely forgotten... I just remember that I have Ceremony of Opposites at home, but I don't think I'll listen to it again tonight... I've never heard this one, but I have some doubts about its supposed immortality... almost twenty years after the birth of black metal, I think it's fair to do a bit of mental cleaning and evaluate who has mattered and who hasn't... and given that the 5 stars are the same as a Nemesis Divina (today on the same homepage of Debaser), I wouldn’t want there to be confusion for those approaching black metal for the first time... Samael are a particular group and, in some aspects, genius, undoubtedly original, but I'm not sure if they'll be remembered in history... recommended for those who want at least to buy 50 black metal CDs... anyway, good review, maybe a bit too enthusiastic... 4 for Samael in general...

In my opinion, what Antonioni wants to express, his endpoint, is not the "inconoscibilità" of reality (which is a sterile stance, certainly valid, but can only lead to skepticism). What his cinema aims to convey is the inevitable construction of reality, which at an ontological level doesn't exist but is built by the observer. I see nothing wrong in using a medium like cinema, which, among other things, is perfectly suited for exposing a concept of this kind. In my view, the final scene does not symbolize a moral suicide, but a new awareness, a rebirth from the darkness. And to me, in this, Antonioni's cinema makes sense: it is not a celebration of the Limit, but the painful acceptance of this limit. At least, that’s my perspective; I have never read literature on Antonioni, and I could be misinterpreting...

Well, Stipe, there are covers and covers... the Voivod, who have a very personal sound, re-did "Astronomy Domine" and all in all they did well (a bit worse with the 21st Century Schizoid Band)... Johnny Cash released albums made up entirely of covers and they sounded like his own records (and he covered Nine Inch Nails and Depeche Mode, which don’t fit with his style at all!)... the covers that DT makes could be done by the "Buona Domenica" orchestra... and DT aren’t even that old; it seems early for a decline. The problem is that instead of maturing, they’re regressing, stubbornly persisting in making music for super young people (or rather, for the super young, which is worse...).

the review is excellent and detailed. However, the continuous references to other bands or songs by other groups fill me with endless sadness: it’s not about wanting to be harsh on the DT, but is it possible that with their immense technique they are forced to mimic others? what kind of artistic vision do they have? where are they going? what message are they giving us? but when we read, for example, a review of Tool, do we ever come across phrases like: here they reference so-and-so and here they reference what’s-his-name? is it possible that they have become a fanciful cover band? if it had been a parallel project of the DT, I could have understood... I will deign to consider a DT CD when I no longer read so many references to other bands in their reviews...

a film that didn't excite me... more than anything, the theme of revenge really annoyed me... I don't want to be a killjoy, but I think that forgiveness is a much more heroic and difficult act to achieve, which is why I appreciate that alcoholic Harvey Keitel in Bad Lieutenant more... to forgive is to suffer, as the good Chuck Schuldiner used to say... revenge is for fools, especially when it's coldly calculated... it means being prisoners of paranoia, having a distorted perception of reality, giving excessive importance to oneself and to others, as if an act, whatever it may be, stems solely from free will, when in reality it can just as easily be an accident in a context of greater forces... to what extent is an action intentional, and when does it start being induced by external causes? how much do socio-economic-cultural conditions influence individual behavior? does guilt exist? at most, we can agree on laws and those who break them should rightly be punished, otherwise the system of coexistence would collapse and we’d go back to the state of nature. But punishment should come from the community, in the form of justice, and not from the individual... down with John Wayne! long live the Sunn o)))

Antonioni is like the sunn o))))... it drones your balls with images... anyway, the content is there, maybe it's not told, but illustrated with a camera movement, and that's where the great invention lies... the long takes are not thrown around randomly, but they always want to say something... and then there's all the discourse on cinema, on the perception of things... come on, let's not dismiss a great artist with form/content games, just to appear as anti-pseudointellectuals or, worse, the usual Fantozzi looking for the applause of the crowd... Antonioni certainly has his limits, some of his messages have aged poorly, and he has also made some glaring mistakes, he might not appeal to everyone, he may have even become unlikable because he’s so over-celebrated and perhaps overrated by the critics of the time, but he shouldn’t be demonized more than necessary! In short, otherwise, we end up with Kitano and Kiarostami becoming geniuses and their master being seen as a fool...

ended with panzer division marduk...

The problem is that Dream Theater truly believe in what they do... it's that they are artistically spent, that's all... it's true that they could wait five or six years before releasing the next album, maybe distilling all their ideas into about fifty minutes, and maybe something good might come out...