supersoul

And then in this review, the reference to the Lennon affair is not a pretext; I needed it to emphasize the state of affairs we find ourselves in TODAY, at all levels. "Sign 'o' the times," as the little man from Minneapolis used to say.

Dear eneathe devil, I do not know you, but from your comment, it seems you are quite a small person, a quaqquaraqquà (cf. "The Day of the Owl," Leonardo Sciascia). I have NEVER expressed disdain towards the site; I have only protested when I saw that review published, asking to have it removed because I consider it an offense. If you are able to publish "reviews" that glorify Nazi crematoriums and the Jews who died there because "it always fits within the logic of open and courageous publication of the most disparate ideas by Debaser," that is something that, in my opinion, does not bring you honor, especially (as Alessio used to say) since you have not published other reviews or you have a separate section (let's say, non-homepage). I couldn't care less about the management of the site except when a cowardice like this gets published, whose "author," a hero of our times, is still around blabbering. Precisely because I do not consider myself a puppet and never will in my life, I always express my opinion both in reality and in fantasy, dear Fidia (whom I greet), even if it means making enemies of the management of the company where I worked and the staff of Debaser. I would have felt like a loser if I had remained silent instead of leaving. For the record, I have not hidden that I am Nettadebaser; I clearly stated it in comment 30 of the review on Left Lane Cruiser. Greetings to those who do not need to be listed in the columns of good and bad of Love/hate to know that supersoul values them.

@geeno: it was better when it was better. No hard feelings towards this site, but I don’t think there’s any music review site that can truly be defined as such, and evidently this one doesn’t define itself that way. A delirious review like the one praising Lennon’s murderer against the drugged hippies should never have been published (and this shocks and disgusts anyone who loves music, whether they’re 40 or 80 years old). Especially since not everything submitted here gets published.

I'm sorry, but it appears that your request did not include any text for translation. Please provide the text you'd like me to translate, and I'll be happy to assist you!

ps to visualize the hot sister, replace number 46 ('e denare in the Neapolitan smorfia) with 33 (e' mazzate)

Yeah, it makes you stuff your face... it feels like a will from someone who's leaving us...

great psycho, thank God you've become an old retrograde (musically speaking) while still being gggiovane. These were to be proposed, the intro to Blue Monday is nothing short of stoogesiano, you can tell they are American. If you like fuzz guitar check out the English power trio The Wicked Lady (1968-72) from "The Axeman Cometh," the cover promises "60:24 minutes of wah wah hell." The drummer is a mediocre player, but the guitarist...ah, the guitarist!

Kyuss, Fu Manchu... stoner? I can't quite understand what Clutch has to do with stoner. Some wise one has already wisely specified vintage rock or seventies rifferama: here you have the entire Sabbath/Zeppelin lesson reinterpreted in a USA key. Listen to the big riffs from last year's album "From Beale Street To Oblivion," they're quite explanatory. FHJ has brought in Gaster, the drummer from Clutch, in their "The Mistery Spot," but as Fest says, they are much more varied, bluesy, and southern, even if something in the choruses reminds you of Clutch. @ole try the one from 2007, they even added the Hammond! Nothing to tear your hair out over, but if you liked FHJ, you’ll also like Clutch.

I just re-listened to the 1994 Atlantic album "For Your Own Special Sweetheart" (which was an advertising slogan for the Barbie doll, the two guitars rock, "Savory" is on par with Sonic Youth.

It will have mentioned the other record 4 times, but it introduced you to a band that was considered one of the best promises of American rock in the '90s (they were likened to Fugazi, Gang of Four, Wire)... until they were with Ian McKaye's label, when they left the "monks" to land at Atlantic with an album that, in my opinion, is the best but didn’t bring them luck because of the curse of leaving Dischord. After all, even the great Dag Nasty, once outside the rage of Washington D.C., got caught up in the softness of melodic hardcore from the West Coast dominated by the Descendents. The reviewer may have made a lot of noise, but damn it, they talked about a band that you might not know and should listen to if you’re a fan of these sounds, or would you have preferred yet another stale review in a style of enbar 77 about well-known bands?