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Less conventional? I saw Xabier after the release at the Afta, he was disconnecting the cable from the guitar and passing it over the microphone. Can you believe it… I don’t want to sound like a purist, which would be ridiculous, but beyond the issues he had, the feeling was that, after the pop turn, he had no intention of engaging with the world of success and that he was more interested in the sound. After all, I reiterate, years later, the impression is that all the weird little things in "Hai paura" are his doing, and not Agnelli’s. The writing, in fact, has more or less always remained the same.

@Gustavino, I don't provoke a damn thing, certainly I'm not seeking any credibility from you, who then grant it to Easy or Vortex and who knows who else. Here, the only ones who send me to hell are idiots like Poletti or Blackdog, and I assure you it's not a big deal. @Ajeje: isn't "Quello che non c'è" a super pop song? I don’t know if it's a production issue; certainly, Xabier, the creator of all the little noises and deviations of "Hai paura," is no longer around. I find "Non è per sempre" quite pop as well, but less standard, and maybe, over the years, I love it more because it was underrated upon release. This, speaking of production, seems very "flat" to me.

I agree with you that naivety is always a nice quality, but it also seems a bit lacking in structure and complexity. When we went to see the Marlene, anyway, we always expected Sonica, and there was a long period when they played it, getting better with the passing years. Until they died :-)

Uh, oh, Catartica no, it’s still a bit too naive. I agree with you on Gustavino, though, who has finally become a bit of a pain in the ass. He goes around handing out certificates of credibility to people who have listened to thousands of records and seen hundreds of concerts more than he has. Gustavino, chill out, you’re getting on my nerves. You have time to learn; for now, you’re just spewing a lot of bullshit, and above all, you’re not showing respect. Which is not okay at all.

Uh, oh. Just to disagree with Alessio, this seems to me perhaps the lowest point of their career, along with "Ballate", there's too much predictable pop, unlike "Non è per sempre" and the last one, which has a lot of strange pop. Anyway, de gustibus, after all, everyone has their favorites, aside from "Hai paura", which is in a league of its own, and yes, ultimately, it's the best Italian album of the '90s, because over the years it hasn't weakened in comparison to "Il vile". Pour moi, obviously.

Alright...it's missing! The parallel with the disappearing Polaroid is with Albini, who used to go around buying up all the tapes from I can't remember which damn company that had discontinued production. Moreover, it seems that the Electricals have started recording digitally. The next one, which I believe will come out in 5/6 years, I'll have you produce it, Ale. A hello, as it’s been a while since we crossed paths, like with Mary.

Great page. Ghemi exaggerates when he says that dubstep will remain, as it's indeed a bit too niche, but it's true that the only interesting and somewhat new things are found in the electronic realm. So far this year, I've really heard very few decent albums with guitars: Vasco, meaning Brondi, BJM, maybe Nicolino, but to be honest, I’m not really looking for them much either.

Five stars seem too many to me, but it's an underrated little disc. Corgan's popdelic writing here still enchants at times.

But is it possible that for You everything is amazing, fantastic, and brilliant? If this is five stars, how do we rate "Mellow gold" and "Seachange"? Twelve?

@Psycho: in part you are right, but I can still find a few great records. As I mentioned before, I find the latest Porty extremely boring because it’s outdated in the electronic scene (from Burial’s dubstep to The Field’s fierce beats, it doesn’t say anything new). It’s very minimal, but supported by Gibbons' hyper-whiny voice. Years and years to give birth to a mouse. Furthermore, it seems to me that certain names, who have made great records in the past—I was saying the other day about QOTSA—have this fanbase with a bit of blindfolded eyes, so they are untouchable. I also said that the last Harvey was rather awful, and some die-hard fans can’t accept that. I believe the point is simply that after thirty—I'm forty—you become a bit more objective and less fanatic; you defend a great record, but not a band, which doesn’t seem to make much sense to me.