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@Blackdog: I don't have it downloaded, just the luck of having a copy of the advance; when it comes out, I think I'll buy it on vinyl. @nofake: I believe that reviews should be fairly objective, while comments are more for fans. I don't know, maybe I'm wrong. Anyway, you can read my poorly received review of Bachi da Pietra where I exaggerate. @grantnicholas: it's not that antics horrified me. It's just that I loved the first one so much that I couldn't help but feel a bit disappointed. Then, as I say in the review, I prefer guitars that are a bit dirtier. Here we’ve returned to that sound, a bit poignant, dark, and romantic, of the first one.

I think like Lux: if I want to listen to a great singer, I put on Van Morrison; from singers, I just expect them to have a nice tone and some melodic ideas, even if they don’t have a three-octave range, it’s all the same.

I also like "Fire of Love" more. Even though the cover of "Miami" is really fantastic. If only we still had characters like Jeffrey Lee...

Boh! To me, it seems that over the years, Moore has managed to find increasingly fitting melodies for his voice. Gordon can't sing, but I find her moans, grumbles, and sighs very functional, at least in some tracks, like "Shoot" and "JC" on "Dirty." Verlaine, on the other hand, has never had range or particularly interesting melodies: the melodies in Television's songs have always come from the guitar. By the way, he's one of my all-time favorite guitarists.

Can I confess that I have the entire discography, strictly on vinyl, of the Sonic, without someone shooting me? It’s also true that I buy the latest ones more out of duty than pleasure. I would like to add a few comments. The trimurti Velvet-Television-Sonic Youth seems to me to arise, more from a genuine musical affinity among the three bands than from the fact that they have represented the guitar sound of New York in three different decades. From this perspective, I think the Sonic are fundamental, both for their characteristic of playing with different tunings than the usual ones and for exploring the possibilities provided by amplification, including feedback. This story that they are unlikeable seems to me, on one hand, to be of little relevance from a substantial point of view; on the other hand, many bands are grateful to the Sonic for having helped them by taking them on tour. They have been the guiding spirits of the entire American rock scene of the '90s, and that’s a fact. Personal anecdote: my old bandmates went to see them play years ago and at the end of the concert, they left our CD with Ranaldo, who took it and thanked them. So they can’t be that much of jerks. Regarding the vocal qualities of the singers: it’s clear that they are not excellent, but who cares, neither Velvet nor Television have great singers, yet they made history in this little music scene. In any case, Scaruffi's opinion is worth as much as the two of clubs when trump is diamonds: if there’s anyone who doesn’t understand a damn thing, it’s him, worse than those from muchio and blow up combined.

I'm usually thrifty with 5 stars, but this review seems really nice. Setting aside what Pearl Jam meant to me in 1992, I probably wouldn't go see them even for free now.

Oh Tricky, at this point, strange rumors will circulate about DeBaser, since we are always in agreement, united against poor Morocco :-). The fact is that if we’re doing a third recap on this little disco or if we come up with something truly intelligent and new, what will happen? Besides what you say, I would also quote Moore when he says: "Guitars don’t end, but have a new beginning, with the amplifier." P.S. I also agree with Lux on "Schizophrenia", which has always seemed to me an absolute gem of disturbed pop.

I told you that when reviewing masterpieces, one must be prepared. Nothing, not even this time did you study. Teenage Riot is NOT sung by Ranaldo, but by Thurston Moore. The voice you think sounds like it’s from a movie in “Providence” is actually a message from Mike Watt recorded on Moore's answering machine: Watt is angry at Moore because he lost some cables. By the way, the track isn't boring; it’s imbued with a certain lyricism connected to the Dickian and Gibsonian influences that permeate the entire work. The correct title is "'Cross The Breeze" and not "Across The Breeze." The multiple references to hardcore seem completely out of place; I bet you’ve never listened to hardcore in your life.

I would like to thank andre86 for his insightful analysis of my rec. Cogito merdam, ergo sum...

Oh, if you're happy, everyone is happy. But when someone writes a review, they should consider a problem of universality, because saying "This album is great, this one sucks" is easy for anyone. If Pj spends a year pouring his heart into making an album that I find to be a masterpiece, we enter a matter of taste, but without writing a treatise, one can place the work in a few lines, with a bit of respect, both in the rock context and in the overall work of the lady. Something you do not achieve in any way. Then, don’t think I’m clueless: if you write that "Pj is not distant, even if he sporadically uses electronics (no, he doesn't... do you know the difference between electric, acoustic, electronic, etc.? A/N)," it’s understood from a musical perspective (besides the fact that even stylistically they're completely unrelated). So, next time, explain yourself better. And show more respect for Pj (but also for Tiziano Ferro and Laura Pausini). P.S. The other review on Pj is so bad that it’s not even worth critiquing. Yours has the presumption of discussing things you clearly don't understand, which is therefore extremely annoying.