trickykid

My opinion aligns with AZZO and FESTWCA. Sonic Youth have nothing to do with punk; their "noise" is the most difficult and least random thing you can create with an electric guitar and an amplifier. They know music, they know the instruments, they play with incredible and unusual tunings, etc., etc. They have even less to do with hardcore. For these reasons, the review is CASSA - with no postponement - as it truly deserves the bare minimum.
The album is one of the best of GIOVENTU' SONICA, certainly the most representative. Other essential albums by SONICI GIOVANI: Evol, Sister, Goo, Bad Moon Rising.
Rock&New York: the city and its sound. The fundamental milestones are: VELVET UNDERGROUND ('60), TELEVISION ('70), SONIC YOUTH (for the decades of the 80s and 90s). They rehabilitated Neil Young at a time when the Canadian singer-songwriter was ignored by everyone. They discovered and produced some good bands (in particular, the SMELL RECORDS label, run by the drummer of S.Y., launched or discovered Blonde Redhead and Cat Power). They embarked on experiments far from sonic rock (see the records produced by themselves). Their influence is vast: during the grunge era they had quite a bit of "reflected" notoriety from the current phenomena, which they shamelessly tried to ride with an album like DIRTY (very open to those sounds). I also saw them live, and they are great, although the inevitable advance of age doesn't help in playing that genre...(halfway through the concert, it was clear that Kim Gordon was tired... and I get it, she's my mother's age!)

A review that adds nothing and takes nothing away from anyone who has listened to this INCREDIBLE album once, a masterpiece of an IRREPRODUCIBLE season.

I saw BLONDE REDHEAD live twice during the glorious ROCK SONICO: LA MIA VITA VIOLENTA and FAKE CAN JUST BE GOOD. Incredible, just like the music they played. I followed them passionately up to MELODY OF CERTAIN DAMAGE LEMONS... after that, they fell from my heart: their POP explorations, though always at a high level, don’t excite me anymore. It seems to me that they have fully renounced their previous style... and frankly, their current sound doesn’t make me forget pieces of unspeakable beauty like PIERPAOLO, FUTURISMvsPASSEISM, MISSILE ++, etc. So, this review of their latest live performances confirms my feeling: the bourgeoisification is an irreversible process for one of the most interesting bands of late millennium rock.

LEMURO...the battle against the wannabes is lost from the start: because their empty "posturing" makes them impermeable to a real understanding of any phenomenon and/or fact different from their indigestible gin and tonic or Bacardi fizz, savored with the inevitable background of "alternative," "lounge," etc. That these places sometimes serve listenable, often good, stuff is another story. But their elitist proposal is infuriating.

Music is posh when it’s played in those obscene clubs, trendy venues, and hip pubs, feigning alternativity. When it becomes the sound wallpaper of those (sad) places that pretend to be bastions of enlightened intellectualism but are actually filled with riffraff: it’s just that instead of TOD'S at their feet, they prefer DOCTOR MARTINS or trendy sneakers (of the same price, of course)... Regarding posh music, one can refer to the endless series of BUDDHA BAR CDs et similia. Or the bleakly consumable electronic music that’s used as background everywhere... this album isn’t bad (though maybe the first one was a bit more "fresh") and the review is good.

"Snake is short but captures its swaying essence, talking about a "serpent"... (has it copied from the Kobra of our great Rector?!??) and then the unparalleled "Pj is not far off, even if he sporadically uses electronics, from the path taken by Bjork."
Indeed, we hate false modesty: so we exonerate ourselves by considering this review acceptable?!?
But let's leave it to others to judge our work..!
AZZO's criticisms are more than shareable."

I’ll pick up the cue thrown out by AZZO regarding the production of the album (which I’ve already mentioned) by STEVE ALBINI: crackling sounds that complement POLLY's sharp guitar and the bulky (and tremendous) drums; the vocals, not always in the foreground, also play across various registers (from whispers to hysterical screams or a "heat" dog growl), etc.
The contemporary version of FOUR TRACK DEMOS from this album can be attributed to the criticisms that arose from this production but also to shed light on other songs (perhaps lesser ones) that were discarded because they didn't align with the EXTREMIST theme of the album. Thus, true anthology pieces appear, which I recommend fans of POLLY seek out: GOODNIGHT, M-BIKE above all, in addition to the stripped-down versions of the songs already released under ALBINI's supervision. The final reason for the publication of the 4TRACKSDEMO can be traced back to the "period": alternative rock, in the early '90s, was selling Decently... with this operation, a zero-cost album was fed to fans and audio enthusiasts of the moment, allowing for ample profit margins (0 production, 0 equipment, 0 recording studio, 0 promotion, etc.).

Bjork, NO PROBLEM! And I agree with your thoughts...

Dear Bjork, when I refer to "magniloquence, virtuosity, and fantasy," I certainly do not mean this album (which, however, is rich in instrumental virtuosity, HACKET above all), but the genre in which this album inevitably "fits": PROGRESSIVE. I agree with those who rate this record five stars - and it couldn't be otherwise. But for that, just read my previous post carefully. The real problem is that when discussing PROGRESSIVE, genre enthusiasts are ready to raise their shields as soon as someone mentions FANTASY, ACADEMIC VIRTUOSITY, and MAGNILOQUENCE... which do not necessarily negatively characterize this music, but are merely descriptive terms of the genre. That these traits are also present in the works of Genesis seems indisputable to me.

In this album, the sound and style fully explored in NURSERY CRIME are taken to the extreme: the GENESIS are at their creative peak, which they will refine until the "swan song" THE LAMB...
Heard today, this album sounds decidedly dated. But this was the music that appealed to the intellectual-chic Europeans in the 70s: grandiloquence, virtuosity, and fantasy, applied to the youth culture of the time.