azzo

I simply read the comment from popoloitaliano above. I know you never believe me, but I haven't bought Repubblica since 1992. And I assure you, in the deep north, you can't even find it at the bar. Anyway, he also writes for Rumore, and I do buy that one. I hope you don't get mad about this too.

P.S. Sorry, since you can be a bit thick-headed, let me clarify: "A Ghost is born" is above all, of course. Otherwise, we'll end up arguing all night. :-)

What did you say, Blackdog? You know that I've never read Musica and XL either :-). The bands and albums you mentioned all suck for me too. Campo, however, is so old that sometimes he still gets it right. And let him take the bread home too. Of course, it’s been like 16 years since I bought a record just because he recommended it.

I saw them the evening after. They broke it down, as always, more than ever. It seems to me that they have matured a lot; they really have the guts of those who have done hundreds of shows and rehearsed thousands of times. Then, as you say, what’s beautiful is that, despite that, they don’t hold back; they give it their all as if their honor depended on it. I mean, I’ve seen dozens of concerts where the band seemed to be doing a favor to the audience by playing. Not them. Despite having an undeserved reputation for being assholes, they always try to give their best. Alberto, for example, stopped at least three songs—two went badly, one got lost—and this is also a form of respect towards the audience. I end by defending Roberta once again: those who say she can’t play are asserting one of the biggest bullshit statements I hear about Italian rock. I didn’t see her miss a note, even though she was moving the whole concert. And the riffs are good riffs; otherwise, the three of them wouldn't hold up anything.

@easycure: sorry, I didn’t talk about any newness, but about differences, and with the Joys there are plenty. The impact of the singing, precisely because the two come from different shores of the ocean, is huge. You can imagine whether I think Interpol say anything new. But on this, you'd better accept it, or stop listening to rock music released after 1982 (I’m exaggerating a bit). The issue is that nowadays a good band is made up of a combination of past elements. Some do it well, like Interpol, and some don’t (for instance, the bands mentioned by Blackdog, from which I do salvage the first Bloc Party). After that, it’s probably true that we settle for a bit of nostalgia. For me, who prefers the English sound from '79 to '82, Interpol evoke good memories. Campo recalled, regarding Antics, Psychedelic Furs. It’s true, there’s a track that is identical, same chord progression, same singing, as the Furs. And what can I do... I refuse to get passionate about third world, metal, and various crap. This is my sound, and I prefer a revival of this over prog. God save me from it.

Sorry Easy, but it seems you're being a bit too blunt. I don't doubt that the period is mediocre. In fact, I've often been abandoning rock for other genres lately. However, I don't think Interpol are that mediocre either. The comparisons with Joy Division make no sense, both because they are unattainable and because, as I said in the review, Interpol have their own stylistic signature now. For example, Joy Division never used guitar arpeggios, unlike Interpol, and often provided the melodic lines in their songs with the bass, something Interpol never do. As for the voice: strangely, I have to agree with Blackdog again just a few days later. If Banks has a voice similar to Curtis, you can't just stop him from being a singer or squeeze him too hard. Beyond the fact that the singing styles are different in the two bands. Primarily, because one is English and the other American. That said, part of the pleasure I find in listening to them might be due to a certain "nostalgia for the future," as I mentioned earlier, not because I'm a crow. Finally, de gustibus: I, like you, find Muse annoying, while the last Sonic, on the other hand, I really didn't like at all. And this is coming from someone who is a fanatic of Sonic.

I hope to God the album is better than the single, because "Non è una favola" really sucks. It feels like I'm hearing those hated Ustmamo with ten, maybe fifteen, years of delay. What kind of shitty pop is this, fake electronic, with that rat-like voice? Oh guys, there are so many of you who normally understand something... have you all gone crazy? If this is one of the hopes of Italian music, I have a strong temptation to run away. On the other hand, if the comparison point is Elisa, I mean the poor man's Analis, we’re really in a good place. I vote for the single, but I have no hope, as Clementi said.

I would say the chances that this demo is a 5 are the same as Hellas Verona's chances of winning the scudetto in the 2007/2008 season. Water666 must have confused DeBaser with a friend to whom he sends texts. "What?!! But what the f***, PLEASE.

More than simply poorly written, the review seems badly crafted. "Calling it a masterpiece is diminutive" (?!!). But a masterpiece is an absolute; how can it be diminished? The fact that Keenan sang "Rigirato" raises serious doubts about the substances taken by the reviewer or by Maynard... how the hell do you sing rigirati? :-)

P.S. Sorry, I have to give you a lesson in geography and logic. Finistère is in Brittany. How the hell do you expect the end of the world to be in Provence? Sorry for being pedantic.