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I definitely prefer the previous one. Otherwise, good review.

Dear dark scheider, you see, "being a pain in the ass" is not an accidental allergic reaction, a skin problem I can't address. I don't see how one can overlook a band with such visibility, and the fact that I haven't "neglected" them would suggest that I should potentially speak with knowledge of the matter, right? Or is the only reason that would explain a critique of the Gallagher brothers rooted in "a priori dislike" or envy of their success? Or perhaps it's plausible that they are a historically and musically insignificant band? If you genuinely like them, I believe that's really your business, and make sure not to call someone a moron when you don't know them. You come off as an idiot when you get worked up about the object of your own enjoyment.

I will never tire of praising the beginning of this album, one of the most engaging I've ever remembered.

"In the midst of this brothy emo-punk, pimple-ridden and utterly filthy crowd, it’s really worth it." I don’t know. Don’t you realize that you might not know a damn thing about the current music scene? Perhaps that’s why a bloated, mediocre, and derivative band like this sounds genuine to you or like a "breath of fresh air." The opinions of everyone I know who went to this concert are the same, useless, superficial: "what a beautiful crowd, much better than those lice-infested indie-punk-pimpled folks, and they truly are rock 'n' roll" - a phrase that immediately brings to light the fetishism of appearance for its own sake that characterizes these good times.

In fact, I don't evaluate texts "on paper." I believe that the meeting between the lyrics and the music of NIN is accidental, as the intersection between Reznor's personal situation and industrial sounds has created that unique, mature, and universal language. Now Reznor continues to express himself in the same ways as before, but his now "healthy" state simply shifts the balance towards the sounds, the rhetorical tools he has helped to create, which are now there, empty and bare, vehicles of nothing.

reviews and reviewed simply unthinkable

I've more or less said everything I think about nin, but I don't agree with those who believe that lyrics and expressiveness are subordinate to sounds. To say that Reznor had compositional value only starting from the sounds (which leads you to despise PHM as "immature") ignores his expressive/communicative value and the incredibly modern and universal aesthetic of his composing. The lyrics of TDS (The Becoming, Hurt, Big Man with a Gun, Mr. Self Destruct) are snapshots of the most intimate and profound part of the Reznor-composer, which, when combined with the music, create incredibly powerful images, a true calvary that can foster compassion and total engagement in the listener. It was all he had to express, and the impulse was exhausted in just two albums, and indeed what remains of Reznor now are just the sounds (impeccable in this respect Year Zero), which are the uninhabited body of what was once a great expressive form. Ah, to equate Violator with TDS is truly blasphemy; I don't think there's even anything to discuss.

I quote Percy who quotes Hetzer.

I quote Percy who quotes Hetzer.

Congratulations, great page :)