supersoul

To be read alongside that of azzo because it was made in collusion, on one hand the very precise yet attractive review by azzo, on this side the usual firework display from alessioiride who, in half an hour and four lines, gives his excellent take on the listening experience of Rein Sanction: Hendrix and Neil Young trapped in a sack and smashed to bits. Aesthetically, they were very similar to the Meat Puppets with two brothers like the Kirkwoods. Compared to Dinosaur Jr., there’s much more wah wah (...and perhaps more acid). The uallera thanks :)))

here's the beauty of debaser (and it's no joke...) but the proposal of forgotten groups revisited in collusion by those who lived them (damn) and those who discovered them now (alessioiride). Damn says everything that needed to be said, and he's right about the "lack of gravitational center," which, however, is a deliberate effect from the band that instead of stretching the tracks according to the psychedelic attitude seems to sketch them, reducing them to the essence; otherwise, they could easily go on longer. That's why the album flows in half an hour that passes before we realize it, only to perhaps start it over again. Anyway, a song like "Do you remember" reminded me of Nirvana, but this time Sub Pop missed the mark.

I think I'll also be in Cesena, psycho, even though I have to endure a long drive. Good thing I have a hospitable girl in every city :-D

@embryo, I don't exactly agree with your post no. 13. If you want to frame it as an issue of aesthetics, it seems to me that John Fogerty and his Creedence were already wearing flannel shirts long before. As for the claim that Green River were the first in Seattle to diverge "from what ruled the rock market back then," I remind you that Seattle has always been one of the centers of American hard rock or heavy metal (shall we remember Hendrix, Queensrÿche, Metal Church?). Green River and Soundgarden (who came out right after with "Screaming Life") were nothing more than a natural explosion of those sounds towards a heavier, English school style in the case of Soundgarden and a more Detroit garage style for Green River. Nothing new under the sun. In fact, if you manage to find any albums by the Finnish band Smack, who made some records for Enigma between 1984 and 1986, you might say they invented grunge...

Hi psycho, Collision didn't excite me, Fade Out is good but I think the next one, "A Gilded Eternity," is more worth the expense. The problem with bands like the Loop is that when you listen to one album, you go into ecstasy, but already with a second one, you overdose. Maybe if you get the chance (the one with the Arcimboldo painting on the cover), give a listen (or buy it if it's a good deal) to the first from Hair & Skin Trading Co., as mentioned, the rhythm section of the Loop plus a new guitarist. I had the review stuck in the hard disk drawer (and there it stays...)

"...they were innovators," says embryo, "...but what?" I reply. I liked the writing, but I would like to ask embryo why he criticizes those who consider the music of the Pink Faires innovative, while bestowing such adjectives on Mark Arm and company, who do nothing but revisit the riff-o-rama of the late sixties. No one who loved that kind of music noticed they were innovators, and with the arrival of the great Mudhoney, who finally abandoned the chart-topping riff legacy carried on by the future Pearl Jam, nothing innovative or seminal was seen, only the return of the rawness and passion of Bleach and the Stooges. A worthy attempt, like that of the Pink Faires, who in the midst of 1971 laid down the foundations of what would become future hard rock, split between Hawkwind and Motörhead.

@people, Mike and Telespalla (who I greet), this is not about demystifying Joy Division, whose greatness I acknowledge, but (since we’re talking about giving Caesar what belongs to Caesar) I reflect on the fact that some marginal characters a little earlier or even at the same time created something new (as new as something can be...) and today they are forgotten or perfect strangers. As for the Electric Eels, I’ve said my piece in that review: perhaps they didn’t invent punk, but they were more punk than any other punk band, in every aspect, musical, existential, behavioral. To me, they are the punk band par excellence.

Holy words, even for me, azzo. They are the same ones I addressed to bjorky a while ago when she wrote to me that she would be leaving. I replied that in my parts, Gomorrah arose because people with values retreated into their homes, leaving the streets open to the beasts (with all due respect for real animals). But now the fact remains that that review should not have been published, and if we admit that we were wrong, it should have been (in my opinion, eh) removed. Because for me it's like giving reason to and legitimizing the beasts wielding a spiked bat. I don’t write reviews not out of protest but because it truly disgusts me to see them published alongside those glorifying the murderer of someone who helped inoculate us with the damn stupid passion called rock'n'roll. Regards, and I look forward to reading and commenting on your new reviews.

I agree on the immense greatness of Joy Division, but I'd tread carefully with the usual definitions like "...something new, etc. etc." In 1978, in the post-punk San Francisco, there were the Sleepers, and if you get your hands on the posthumous collection "Less an Object," you'll find yourself pulling your hair out and exclaiming, "holy crap... the Joy Division!!!" It's a shame about Ricky Williams (R.I.P.), who was a great singer but so crazy that he was eventually kicked out of the Flipper for unreliability (which says it all...) and then because he started trying too hard to be David Bowie.

Hi Azzo, can you believe I wouldn't stop to read about the Buffalo Azzo duo? I'm more disgusted than angry, and who the hell has ever been a moralist. Personally, if I have to get into a debate here (besides the shitty society we live in) with idiots who glorify the murderers of musicians and wish all sorts of cancers on other users, I'd rather spend my time picking maruzze as the caring festwca has wisely advised me. Your suggestion is great even though it seems like you, like me, prefer Buffalo without JMascis's burdensome production. So why not "Let Me Come Over," which (besides the gorgeous cover with the old black bluesman in a chair on the porch) has really beautiful tracks… give it a few more listens. As for the Rein Sanction that I recommended to alessioiride a while ago, I would be happy to see a double review: one from the old sly dog who lived through them and one from the new sly dog who just discovered them :)