Hell

I have it there, I've had it there for I don't know how long and I've never found the "right" moment to look at it. Sooner or later, huh...

It's been on my wishlist for a while. Sooner or later, I'll check it out. A occhioni O__O didn't like it at all, but he notoriously knows nothing about cinema. (Sorry Teo, you know that tvttb.)

Nice Black Meddle 1. A bit less so for 2. And whatever you say, I really appreciated Silencing Machine, but maybe I should give it another listen; it’s been a couple of years... I’ve had my eye on this one for a while but it doesn’t inspire me, I’ll probably give it a listen at the end of the year just to stay updated. Review as per your style.

Uh, hi folks. I get that her voice isn't great, but I really appreciate it when she starts to whisper like in the latest track; it sounds a bit less nasal. Anyway, as already suggested, it's largely an instrumental album, so the "problem" is marginal. In my opinion, since this is her first effort, she just needs to get settled in a bit: in her solo debut (recorded after Melting Sun, but released first!) she already seems more at ease - it's also true that it's a completely different genre. Anyway, it's my album of the year, no doubt about it.

Very, very beautiful, although I slightly prefer Songs From The Second Floor. A high rating for both, anyway, and I’m looking forward to the release of A Pigeon blablabla. He has a completely unique style that not everyone can appreciate/understand.

Chilling. One of the best of recent years. Too bad about the subsequent Alps, it seemed good to me but definitely a notch below, and above all far too similar.

Indeed gate is right, it's quite difficult to find his stuff on YouTube, but on soulseek there’s everything, seriously, and even in FLAC if you want. I want to emphasize that she is magnificent and everyone should listen not once, not twice, but at least ten times to the aforementioned Karuki Zamen, which has (almost) immediately become one of my all-time favorites. Maybe if I feel like it, I’ll review it too, but it’s so *insert random hyperbolic adjective* that it might take me a while… Hello everyone!

For a good ten years (from nine to adulthood, pretty much all of my adolescence), I was a chronic gaming addict - and I still am, you know, but in different contexts. I spent 80% of my time mashing the joystick, regardless of the game, and this was one of my first gaming casualties along with Crash Bandicoot and Metal Gear. I knew almost all the combos and secret moves of every character. But my favorites were Yoshimitsu (with him, I could drive anyone crazy, I was unbearable) and the Chinese girl with the pigtails, what was her name? Xiaoyou... Bryan was a beast too. Nowadays, I wouldn't play them again; I might start crying from nostalgia (already experienced with a couple of GameBoy games... it was terrible), and above all, I wouldn't have any nerdy friends to beat up. :(

For me, one of the most overrated films (and directors) of recent years. Hot air, pretentious. It puts on airs like a psychological film, but it's as deep as a toilet bowl.

I really liked it, even though I didn't fall in love with it. The best tracks are Eternal Rains Will Come and Faith In Others, strategically placed at the beginning and the end of the tracklist. In between, there are some great pieces (Voice Of Treason, River, and the overlooked Cusp Of Eternity, with vocal lines that stick in my head), the enjoyable but fluctuating Moon Above Sun Below, the unnecessary Goblin, and then Elysian Woes, which just scratches the surface of atmospheres reminiscent of Damnation.
I place it a step above Heritage, which I found fascinating but 1) a bit blurry/limping in its songwriting, 2) produced so-so, and most importantly 3) cold, lacking emotion.
However, the real problem with today's Opeth is a singular one, and it doesn't relate to the atmospheres, the production, or the songwriting: they simply don't stand the test of time. They are the result of a personal whim rather than a genuine need to evolve. Ten years from now, I'll still be grappling with (for example) Morningrise, which seems to have come out last year instead of two decades ago; while Heritage, Pale Communion, and probably even the future ones, as charming and professional as they may be, will have gathered dust on the shelf. That said, I don't blame Mikael for anything: he has gifted me so much wonderful music, written at least four masterpieces of metal, and has been a constant point of reference, and I certainly won't be upset with him if he now does whatever the hell he wants and settles for making pleasant-but-forgettable little records. He can afford it. There are those who ruin themselves in a worse way, and after many fewer years of career.