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Knowing that Paolo had discovered Don Caballero during his last period on Deb, I could easily draw my conclusions. But, making an effort to be naïve, I at least exercise my right to not care. Welcome, Martina :)

Ah, but how ugly is can't change me in French? :D

The album may not be the best, it's true, but I find it much more sincere than the past with Audioslave and the plastic hard rock revival. The fact is that here Cornell really wanted to go all out, but the album remains enjoyable especially if you appreciate the voice (which I agree has improved over the years; in the early Soundgarden days it was exaggerated and a bit cheesy) and the lavish and intricate arrangements. I'd also like to point out that it features some seriously talented musicians (Josh Freese) and all things considered, compared to Scream and Carry On (albums of senility), this one holds up quite well.

I believe that fantasy could do without it, and with this, I am not against this great brick of a book, but against all the junk that has come after. The character of Tolkien is interesting, the books, in my opinion, much less so, especially when compared to 20th-century literature. Regarding the posthumous appropriation of the ideology (presumed or deliberately derived) of past authors, it must be said that now the league uses quotes from William Wallace in Braveheart as slogans: what can I say, for refined palates.

I, who with true made in Japan am bored, will try to commit suicide with this.

@the punisher: Sin After Sin is co-produced by Roger Glover of Deep Purple, which gives the album a sound that is perhaps too polished, I would even say refined; I like it this way, but in defining the "metal sound," it's a significant step back compared to its predecessor. They will do it again after British Steel, which, after a radically metal and acclaimed album (which can indeed be paralleled with Sad Wings), comes out with a shift towards more hard rock sounds. (Their true vocation, perhaps). Both Sin After Sin and Point of Entry were ruthlessly criticized by the public and the press, but I don't think they were really that bad.

nothing, hi.

Yeah, hymnen, that whole album is heavy metal. If that's the case, so is the drumming on "rapid fire" (from British Steel, with Dave Holland) or the one on "hell bent for leather"; maybe take a look at my comments and moderate yours.

I don’t think what I said is utter nonsense.. in Sin After Sin (which I still enjoy listening to) Simon Philips is on drums, who alternated in the early years with a few people including Les Binks and others whose names I’d have to look up in the album booklets.. Dave Holland from British Steel, excluding a few tracks, doesn’t seem to have ever institutionalized the metal style in the sound of Judas (technically, he also really sucked), and he was the drummer who stayed longest in the band until Scott Travis. But if one wants to look closely (read: if one wants to nitpick), the early albums are primarily proto-metal: Sad Wings shows the seeds of the NWOBHM, but it’s an immature album despite being extremely important; Sin After Sin is hindered by the “particular” production; Stained Class is probably the most complete and solid among the early works; Hell Bent for Leather (or Killing Machine) is basically hard rock (almost) from start to finish (and a notable step back compared to the previous one, imho); and from British Steel onwards (with Holland of course) the band’s sound stabilizes between some metal bursts, hard rock numbers, and occasional imitations of AC/DC.

@elminchia: picking up on macaco, art especially from the 20th century onwards has gone well beyond the concept of "beauty" (which aesthetics continues to question) as commonly understood. In classical times, art was one with social and political life (religion and its rituals, the obligation to attend the theater in the Greek city-states); subsequently, and to a greater extent today, art has increasingly been relegated to the role of amusement and practice, completely detached from everyday life. Furthermore, the infinite reproduction of an object has undermined its uniqueness and intrinsic importance. Thus, pop art reintroduces those objects in its works, and here we have the birth of serial music and the use of non-musical sounds and noise. Stockhausen is one of the fathers of electronic music (among others, Can and Faust were his students..), and this record is not the sounds of helicopters but rather a string quartet on a helicopter. (It’s also stated in the title of the work) best regards.