pataweb

On this site, there are a bunch of idiots. Kudos to the author of the review for the tense consistency and for the bold text in spades.

I didn't expect anything, neither before nor after, but then "1000 hurts" came out. It doesn't seem to me that it had already given... anyway, "terraform" is, as the reviewer rightly says, a step below.

I beg your pardon Grand Wazoo, I cover my head with ashes.

It's true that the records are beautiful, but the ZU come alive on stage, and to really understand them, you have to witness their performances. They usually do over 100 shows a year between their European and U.S. tours and boast collaborations with Roy Paci (the first concert of theirs I saw in 1997 was incredible; Roy was positioned right in front of the guy playing the baritone sax, it felt like being inside the cover of "The Grand Wazzo" by F. Zappa), Mr. Albini, and Jeoff Farina of Karate (Ardecore). What impresses is the precision of the breaks (made possible only by the fact that they play live practically all the time) and the punk power they convey, but they lack the arrogance of "arrived" people, and that's their secret, in my opinion.

If only Flog rules improved the acoustics and the beers...

I think you've listened to this record just a little. The White Stripes have almost nothing to do with it, except for the fact that a woman plays the drums, and if anything, the White Stripes have something to do with them. It feels like a straight kick in the balls, like only a woman knows how to deliver. You know those kicks on the tip of your toes...with no idea at all of how much it can hurt? Acidic. Distorted. Deliciously messy. Do yourself a favor, Floyd, give it another listen.

In fact, I'm sure he's Texan; they mentioned it in the introductions.

Anyway, the New Yorker in the wrinkled jacket seems to me like a Texan with a face like a dirt road (keyboardist).

Same as above. Nice evening in Florence too. The only downside is the keyboardist’s hair, which looks like he stuck his head in a bucket of raudi, and the sounds from the aforementioned keyboard, fake as a condom (or like an Evanescence song). Apart from that, they were great, starting with the nervous drummer... well, Mark Lanegan is from another planet entirely, even though Greg Dulli has a truckload more voice (I’m talking about quantity) compared to him. Another downside was someone next to me who was mooching cigarettes (you know what I’m talking about, and you know I’m joking).

I don’t understand who the hell the fan (it’s spelled fan, not fun, damn it, plural is fans) of the K.C. is who was disappointed by Thrak; maybe there was one, who wrote in some famous newspaper, perhaps he even said they copied Tool (I really read this with my own eyes, I swear I was about to have cataracts at not even thirty), maybe someone read it and thought that since a famous journalist said it, it couldn’t possibly be untrue. Well, invective aside against this piece of shit fan, it’s a matter of taste, but I appreciated "the construction of light" much more, the guitars intertwine and harmonize with the stick, which is a marvel, and even if it may seem convoluted and hard to digest at times, the aforementioned progressions are certainly original and a delight for every guitar lover, and more generally for K.C. fans. Anyway, it’s a beautiful album.