supersoul

For me, Zen Arcade is neither punk nor hardcore: it's ROCK. In "Something I Learned Today," Mould says he has learned that black and white is always gray...

I fully agree with Alessio, I can't understand people who consider the reviewed album garbage with a nice 1, then give a 5 to the reviewer praising it. That's how toilets get clogged.

Look, Franci, that having a stay-at-home mom and a dad who works at Enel has nothing to do with it here... on the contrary, it’s the prerequisite for getting involved with Rocche and Rolle, not with "Fin che la barca va."

We were fortunate to witness the conclusion of Paolo's mission, and right away here comes another one to extol the honesty of Orietta Berti while the rogues are us, who instead of singing "Tipitipitì" want to be the damn alternatives with this rock and roll. What a shame.

No, the poetic imagery is no longer the same; Jeffrey begins to abandon the fiery punk rage for a sort of melancholic depression that will accompany the following albums. The isolated case here is "Walkin' With The Beast," which is a "feline" blues groove like the old ones because it's an unreleased composed track for "Miami." The other songs do not reveal echoes that are particularly "mainstream"; it's Pierce who is maturing and becoming melancholic with grand compositions ("My Dreams" or "Moonlight Motel," which has nothing to do with punk). Otherwise, it wouldn’t make sense why he covers Robert Johnson or the Creedence with jazzy interpretations like "My man's gone now" or even quotes "The Creator Has a Master Plan" by Pharoah Sanders.

I reread myself, even though I didn't feel like it, the whole review and also the comments, but it seems to me that no one claimed this was the best album of the year ;-)

The Unforgiven a good movie? That’s a m a s t e r p i e c e! Anyway, Morningstar isn’t entirely wrong, even if the predictability of the film isn’t necessarily a negative trait. Those who are truly familiar with Eastwood’s cinema and his "progression" won’t consider it one of his best films, even though the technical choices of the shots, as Eletto pointed out, are among the best for their symbolic meaning.

Kant, come on... it's fake stuff a mile away... nothing could be further from Eastwood; if you're trying to put a halo on him, you're mistaking the person. Clint would whip these guys from the ad like in his first film as a director :D

Well, the Windham Hill catalog cannot be dismissed as nonsense in contrast to the "wonderful Fahey." The fact is that this "soft jazz," which later became New Age, has degenerated to the level of music for flower and plant shops or hair salons. If I remember correctly, Fahey himself produced the debut of pianist George Winston for Windham Hill, but then I’d like to understand (just kidding because I do understand) why, despite being broke since his records didn't sell millions of copies, and having three or four illnesses and just as many divorces, Fahey never wanted to "reinvent" himself in the best-selling (to wealthy yuppies) New Age of the Windham Hill era. Instead, he mocked it with the track that referenced PVC, composed of nothing but noise in defiance of the soothing notes of that movement. He preferred the "alternative": O'Rourke, Cul de Sac, and there are even talks of the noise artists Thurston Moore and Lee Ranaldo.

...basically as I said in the review, the visionary mystic who in the sixties titles tracks like "Revelation on the Banks of the Pawtuxet" (which is on the wonderful "The Dance of Death & Other Plantation Favorites" from 1965 with the girl on the cover under the arm of the skeleton) gives way in the nineties to the tired, grumpy acid bear who titles tracks like "Death and Entrails of the New Age." Personally, I love and vastly prefer the first Fahey,