ohjesus

I forgot the grades... anyway... amazing, the review

They drive me crazy because they mix hard sounds with folkloric ones in a paradoxically sweet and schizophrenic way. Just listening to "Sugar" gives me chills from the level of musical madness and beyond. Then he has a spectacular voice, deep and baritone that raises the hairs on your neck; in "Aerials" and "Toxicity," he lets it soar, which is a marvel... "Steal This Album" doesn’t drive me crazy, you can tell it’s filler, but for filler, hats off to them. I hoped to see them with Tool last year at Ozzfest, but damn it, that guitarist of that cow Ozzy was sick, so no concert in Milan or Zurich. Oh well. Getting back on topic, if we want to talk about crossover, this is a great crossover, a perfect blend of Balkan roots, Eastern influences (I also see some Roma flair in there), and extreme Western metal. A few days ago, I saw an Iraqi band doing metal and I shivered at their desperate yet, in my opinion, foolish attempt to emulate American-Western metal. Unique and special in the scene (see the mentioned ghost track). Psychotically genius. I’m loving it! And the review is beautiful!

I take it back, listening to it at night in front of the ocean gave me chills.

They know of a rocking chair on a Jamaican beach inhabited by people from New Orleans who speak French and offer you plenty of beer. Not sparkling, beer. They pamper you without making you drowsy (until about minute 43). A more technical review? Milton do Nascimento I’ve never heard of... not even the Orbitals... hmm, did I miss something?

but they no longer send shivers down your spine, absolutely right

During their American tour, GYBE were mistaken for terrorists and detained by the FBI at a gas station near Chicago: "I just feel very lucky that we weren't Pakistani or Korean," Godspeed You! Black Emperor frontman Efrim Menuck told Pitchfork at the band's Chicago performance on Friday night. "They detained 1,000 people in California, no one knows what happened to them. We're just lucky we're nice white kids from Canada. That's what I feel lucky about." Please, I beg you, Karl. Where did you get this? Give me the newspaper/website from which you extracted it... please, please, please, let me, let me, let me... let me... get what I want... (this time)

The review is catchy, yet..."The stunning body of a girl who seems to embrace the wall of a soundproof room"... nah, why on earth? Sorry, "Maynard", but the comparison is perhaps a bit too personal... as if I were to say "her voice sounds like my boyfriend coming"... great, I would be happy for myself if I read that, but... when I listen to them, I see neither girls nor soundproof walls. I hear a great voice, beautiful music, lyrics that, like in "Judith", make me reflect (but not too much after hearing "Eulogy"), and like in "Magdalena" or "The Hollow", they make me dream; for the rest, it’s a lament, pleasant but still a lament. The album isn’t bad, but having heard Tool first, or even just Maynard, I sense a lack of originality... I don't mind the xylophone at all, but it's the excessively whiny voice that gets to me, and loving Maynard, you have no idea how hard it is for me to say this... but in "Lateralus", it’s a whole different story... I agree about the drums, after all, they come directly from the Vandals... I found it nice, nothing more, I expected better from Keenan, but certainly not monotony.

But how can you disregard the past?!? How many times will it be repeated? Audioslave are BORING, REPETITIVE (in themselves, in all their songs) and semi-clones. Thanks to the fact that Cornell has a beautiful voice, unless he has spent the last few years only smoking cigars, it’s hard to believe he has gotten worse (even though, in my opinion, the low tones aren’t as clear as "they used to be"), but the sound of Rage has nothing to do with it.
But the discussion is pointless; those who haven't EXPERIENCED either Rage or Soundgarden can’t grasp the vast distances between the past and the nefarious present. We are facing different phenomena that should rightly be assessed with the appropriate measures. Audioslave have crossed a road that, in many ways, they have traveled themselves multiple times. They haven't added anything new to the musical landscape. So, well done again. But repetitive. When will the now no longer glorious goodbye come?

More than commercial, the album seemed more calculated to me, not so much to sell as to perfect where, in my opinion, there was nothing left to improve. After an absolute masterpiece like Aenima, they could have
a) wasted time since they had already contributed excessively to the sonic embraces of the listening universe
b) made a truly commercial album and thus implicitly catchy (something that Lateralus can only be for those accustomed to the Tullian syncopathology, especially from Aenima)
c) made an album technically superior to the previous one. Since Aenima was already artistically the orgasm, indeed the peak of the orgasm, they could have made an album of the same genre but even more intricately messed up.
As far as they are concerned, I believe the commercialization has been passive, that they simply became more famous without trying to be more appealing to the public.
Or not?
Wanting, Opiate is much more commercial than Lateralus...

Can I have the address of anyone who thinks that Limp Bizkit or Linkin Park "invented" the crossover?